Tag Archives: LGBT

Rafael de la Fuente Joins ABC’s 2017 Miniseries “When We Rise”

You might recall that sometime in 2015, I interviewed Empire’s own Rafael de la Fuente for JUST ADD COLOR. Now, a year later, I’m excited to say that de la Fuente is going to be on a brand new project coming to ABC, When We Rise.

When We Rise, coming to the network in 2017, will be directed by Gus Van Sant (Good Will HuntingMilk) and Dee Rees (Pariah, Bessie) and written by Dustin Lance Black (Milk, Pedro, J. Edgar). For those who hated the film Stonewall (and with good reason), When We Rise could be your saving grace, since it’s focusing on the American gay rights movement after the Stonewall Riots. De la Fuente will play Ricardo, who is described as “a character who ends up in a long-term relationship with Cleve [Guy Pearce]”. Mary Louise Parker is also a part of the project; other cast members will be announced in the coming months.

“I’m excited to take on the role of Ricardo in this very important mini-series,” said de la Fuente in a statement. “I’m excited to work opposite Guy Pearce, and work with Dustin, Gus and Dee. This team will bring the story of the gay rights movement to life, showing the courage, compassion, diversity, fear and most important, love, of this movement and era. The stories within this series will undoubtedly resonate today in all communities, not just the LGBT community.”
What do you think about When We Rise? Give your opinions in the comments section below!

“Incredible Girl” Provides Space for Alternate Relationships

Ready to learn about more than just the two-person relationship dynamic? If you’ve raised your hands, consider me right there along with you, because in the spirit of being well-rounded, I’m highly fascinated to see the new pilot, Incredible Girl.

The webisode is created by Celia Aurora de Blas and Teresa Jusino (whose written work you can read at The Mary Sue, where Jusino’s the Assistant Editor). The pilot focuses on a young woman who realizes the life she’s lived up until this point isn’t really who she wants to be. Enter Incredible Girl, who changes the young woman’s life forever.

INCREDIBLE GIRL is the story of Sarah, a young woman from a Southern Baptist background who’s going through a divorce – and is slowly realizing that the life she used to value no longer makes sense for her. She meets a mysterious force-of-nature known as “Incredible Girl” who shows her that the possibilities for what her life can look like are endless, and encourages her to indulge her curiosity in the world of BDSM.
Family drama, romance and  humor irreverently come together in this female-led, rite-of-passage digital series that confounds expectations about who and how you should love.
Ultimately, we’ll learn that love and passion, control and submission, pain and pleasure are just as intrinsic to religion as they are to BDSM. The body is indeed an altar, while prayer is a form of orgasm (fact: orgasm and prayer activate the same parts of the brain!).
Our goal with this series is to depict the world of BDSM in a fun, entertaining, authentic way, and to promote understanding and tolerance of those whose sexuality marks them out as “different”.

The show is a 30-minute dramedy-of-sorts, which aims to join the likes of Hulu or Amazon; in fact, if you want to compare Incredible Girl to any of the web’s current slate of shows, use Netflix’s Orange is the New Black Hulu’s Casual, or Amazon’s Transparent as your yardsticks. I’d also say that the show could possibly be a great fit for the Audience Network, who has the threesome show, You, Me, Her.  Incredible Girl doesn’t just focus on sexual diversity, but also features racial and gender diversity as well. The show is helmed by women and is a “female-centric series that explores alternative lifestyles and tells the stories of characters that are diverse racially, in their gender identification, and in body type and physical ability.” To go further, let’s look at the stats, provided by Jusino:

As of now, the show has a Latina writer, 5 of our 6 producers are female, over 50% of our production team is People of Color, and we’ve hired a trans woman as our production sound mixer. Many of our characters are of color, on the LGBTQ+ spectrum, or of different body types/physical abilities (for example, one of our major supporting characters is Cupcake Dominatrix, who is a plus-sized Latina dominatrix. We also feature kinky people who are in wheelchairs, or have other disabilities, etc)

If you need something to take the awful taste of 50 Shades of Grey out of your mouth, Incredible Girl is exactly what you need. Take a look at the short film the pilot’s inspired by, as well as the pilot pitch and teaser scenes (some images are not safe for work):

Incredible Girl has a crowdfunding campaign to raise $50,000, with the campaign ending April 13. There’s still time for you to help out and make Incredible Girl‘s spot on Amazon or Hulu a reality. (Donations are also tax deductible.)

What do you think about Incredible Girl? Give your opinions below the post! Also, follow Incredible Girl on Twitter, Facebook, Tumblr, Instagram, and YouTube.

 

What “The 100” Didn’t Learn from “Teen Wolf”

SPOILERS BELOW!

Do you watch the CW’s The 100? The show was breaking ground with its same-sex relationship between fan favorites Lexa and Clarke, but something happened recently that left fans up in arms.

If you’re not up to speed, here’s what happened. Lexa inexplicably died during the latest season, leaving fans who loved the characters, the relationship, and what the relationship represented, were left grieving yet another lesbian character who has fallen victim to trope.

Maureen Ryan for Variety has summed up the issue succinctly in her opinion piece, “‘The 100 Lexa Mess: What TV, Jason Rothenberg Can Learn”:

“So here’s the nitty-gritty: The character who died, Lexa (Alycia Debnam-Carey), happened to be one of the few well-developed and comple lesbians on TV, and it’s an unfortunae but enduring TV cliche that lesbians rarely, if ever, live happily ever after. In the March 3 episode, ‘The 100,’ which had touted its commitment to quality LGBTQ storytelling, invoked one of TV’s oldest gay cliches by killing her off mere seconds after she consummated her relationship with another woman, Clarke (Eliza Taylor). Many fans, regardless of sexual orientation, were left shaking their heads in disbelief.”

Ryan goes on to write that the death itself didn’t make storytelling sense, even though the actresses involved played the scene well. “But all things considered, the blithe manipulation LGBTQ fans and the show’s willingness to deploy harmful cliches about gay characters remain the things that rankle the most,” she wrote. Quite a few fans feel like they were led on, used to boost ratings with teased relationship, only to have the rug pulled from under them.

If any of this sounds familiar, it’s not simply because creating the “tragic LGBTQ character” is a very tired trope. That’s just one of the reasons. The other reason this might sound familiar is because MTV’s Teen Wolf faced a similar firestorm a two years ago.

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You can read Jase Peeples’ op-ed for The Advocate, “The Trouble with Teen Wolf to get the full details, but in a nutshell, Teen Wolf dropped major hints of highly-developed characterizations (and relationships) of gay male characters, such as the popular pairing of “Sterek” (Stiles and Derek), but the show began being labeled as a “queer-baiting” show once Danny and Ethan, characters who were in a relationship, faded to the background and Stiles was put in a relationship Malia, a female werecoyote. Even worse, the male teen of color on the show, Mason, was tokenized and underdeveloped.

Peeples writes:

“While some might dismiss fan outrage over the show’s dwindling LGBT representation, their passionate outcry highlights a growing divide between younger viewers and those who are creating the shows they watch. For a generation that has never known a time when LGBT people were not represented on the small screen in some form, limited visibility and queer subtext are no longer enough to hold their interest.”

The continued teases that a character might be bisexual with no payoff, the same-sex romances that end as quickly as they begin with little development, the disappearance of gay characters without explanation, and the absence of any well-developed LGBT character four seasons into a show that appeared to bank heavily on its queer appeal early on have left vocal fans howling.

He goes on to say that network execs and showrunners need to recognize that the audience they’re trying to court (and, in the case of Teen Wolf, successfully courted) are not the audience of the 1980s or even some of the audience of the 1990s. This new audience lives in the world the audiences of the old had been hoping for, so it’s time to actually give this new audience the type of representation it wants sans trope and stereotype. “For this demographic, LGBT integration isn’t simply a future aspiration-it’s reality,” writes Peeples. “More than ever before, young people are out, allies are vocal and a person who doesn’t interact with a member of the LGBT population on some level is becoming an anomaly.”

It seems like The 100 also needed to learn this lesson, even though it portrayed the air of deft avoidance of trope up until Lexa’s death. Just like with Teen Wolf’s audience, the audience of The 100 saw Lexa and Clarke as a beacon of hope, that TV was finally putting the spotlight on lesbian relationships, something that’s not always focused on when TV decides to showcase LGBTQ characters. Usually, TV just show gay men, and even then, the focus is mostly on gay white men.

As I wrote in my February issue of COLORBLOCK Magazine (in which I did laud The 100 for its seeming progressiveness):

The biggest trend across the reports is that on the whole, gay white men make up half or more than half of the LGBT characters portrayed on television. Meanwhile, lesbian characters specifically usually make up half or less than half of LGBT characters; bisexual characters make up a paltry amount usually in the single-digit or barely double-digit numbers, but still more than transgender characters, who usually comprise about 2% of the LGBT character population.

With so few lesbian characters and relationships between lesbians on-screen, Lexa and Clarke stood for more than just two characters in love. They represented many viewers and their relationships, and to have that representation taken away has got to hurt. No wonder fans are upset.

The biggest lesson The 100 can learn from this is to look at what happened to Teen Wolf. Fans are asking for proper representation from their shows. Fans are asking for their shows to represent them, because they’re living the lives that are routinely left off the screen. Instead of seeing their audience as a niche with a marginalized interest that can be dangled in front of fans like a carrot, they should actively create storylines that honor their audience. The last thing shows need to do is alienate the folks who make them money.

Ryan echoes this sentiment with her breakdown of the lessons showrunners need to learn. Ryan states that when fans feel manipulated they’ll walk away. She also writes that showrunners shouldn’t gloss over legitimate concerns from fans. But the rule that all of these rules rest on is this: “Don’t mislead fans or raise their hopes unrealistically.”

What did you think of Lexa’s death? If you’re a fan of The 100, can they win you back? Give your opinions in the comments section below!

Looking for Love in Invisible Spaces: Meta & the Gap in LGBT Representation

(L-R) Benedict Cumberbatch and Martin Freeman in the Jan. 1, 2016 MASTERPIECE special Sherlock: The Abominable Bride. Courtesy of (C) BBC/Hartswood Films for MASTERPIECE

As featured in COLORBLOCK Magazine, February 2016

The patchiness of LGBT representation occurred due to several factors, such as cultural reticence, religious arguments, and entertainment companies worried about their bottom line domestically and internationally. The voids in representation have led to fans coming to their own rescue and creating alternate (and sometimes more accurate) readings of characters and their love lives.

The process of finding alternate interpretations of the characters not only provides fans who feel neglected by the entertainment world–such as LGBT fans and fans who are LGBT allies– the ability to participate in their favorite film or TV fandom, but also eases the anxiety created when an LGBT metatextual reading of a character, especially characters who already have a foothold in discussions surrounding LGBT media, doesn’t get the fair play it should in canonical tellings or retellings of a story. Basically, meta readings, and the subsequent fan creations that result from them, give fans the chance to tell the story from their point of view. They get to create a world that includes them in all of their complexity by allowing the canonical characters to have complexity not originally given to them by their original creators.

Sherlock Holmes and John Watson from Sir Arthur Conan Doyle’s Sherlock Holmes series of mysteries are two great examples of when the canonical and meta worlds collide.

Want to read more about diverse entertainment? Read the February issue of COLOR BLOCK Magazine!
 

 

Canonically, Sherlock and John are friends, the most classic example of platonic love and partnership. However, the two characters have also been one of the many touchstones of LGBT media theory, especially where it concerns audience interpretation.

“Fans use these parallel worlds to explore what could have been or might be, especially as regards sexualities that have not found mainstream representation,” wrote Ashley O’Mara in her article, “Queering LGBT History: The Case of Sherlock Holmes Fanfic” for the site, Metathesis (metaistheblog.com). “There is no conclusive literary evidence that [Doyle] conceived of his Sherlock and John as ‘homosexual;’ their relationship presents as a romantic friendship although those were going out of fashion when he was writing. Likewise, despite queerbaiting, [BBC’s Sherlock co-writer Steven Moffat] insists that his Sherlock is not gay, let alone [asexual]. In [fanfiction] however, literally any interpretation goes.”

Those interpretations, which explore asexuality, aromanticism, bisexuality, and/or being gay, stem from said queerbaiting, which include suggestive moments in the BBC show, one of the biggest moments being during Irene Adler’s introduction in Series 2, Episode 1, in which Irene basically makes a case as to why John was actually falling in love with Sherlock without realizing it by comparing John to herself. Both John and Irene have considered themselves people who weren’t interested in men, yet, as Irene points out, both of them are very interested in Sherlock. There could also be a level of retroactive queerbating, as it were, happening within the original text itself; as O’Mara noted, Doyle was writing of romantic friendship when it was going out of style, with romantic same-sex friendship being replaced with a higher level of homophobia (at least among men; with women, romantic friendship and full blown same-sex romance was often overlooked by male society). The level of reticence around romantic friendships comes around the same time the term “homosexuality” was coined, which begs the question as to why Doyle would still consider writing Sherlock and John as a romantic friendships comes around the same time the term “homosexuality” was coined, which begs the question as to why Doyle would still consider writing Sherlock and John as a romantic friendship during such a societal change.

Meta readings have also occurred with many of today’s popular characters, such as characters in Marvel’s cinematic and TV universe. There are tons of  fan creations centering around the close relationship between Captain America and Bucky (aka the Winter Soldier), Captain America’s other close relationship with the Falcon, Iron Man and The Hulk’s friendship (as shown in the Avengers movies), and the friendship between Peggy Carter and waitress/aspiring actress Angie Martinelli in Agent Carter, just to name a few.

MARVEL'S AGENT CARTER - "A View in the Dark" - Peggy discovers her murder investigation has huge ramifications that can destroy her career, as well as everyone near and dear to her, on "Marvel's Agent Carter," TUESDAY, JANUARY 19 (10:00-11:00 p.m. EST) on the ABC Television Network. (ABC/Kelsey McNeal) HAYLEY ATWELL
MARVEL’S AGENT CARTER – “A View in the Dark” – Peggy discovers her murder investigation has huge ramifications that can destroy her career, as well as everyone near and dear to her, on “Marvel’s Agent Carter,” TUESDAY, JANUARY 19 (10:00-11:00 p.m. EST) on the ABC Television Network. (ABC/Kelsey McNeal)
HAYLEY ATWELL

Despite canon interpretations falling short of fandom expectation, it’s beginning to be par for the course for actors who are affiliated with the fandom to speak out on behalf of their fans’ want for more inclusive entertainment. For instance, to address the Peggy/Angie fans, Peggy herself, Hayley Atwell, told fans at last year’s Fan Expo Canada what Peggy and Angie’s relationship meant to her. “The thing that stands out for me about Peggy and Angie is it’s seldom that you see on television friendship between two women that isn’t founded on the interest of a man,” she said. “There’s a genuine affection that they have for each other; whether or not you want to project the idea that it’s romantic or sexual is entirely up to you and how you want to view it. I think there’s a mutual respect that’s quite rare that I want to see more of in film and stories.”

As you’ll read in the next article (about the meta pairing of Star Wars: The Force Awakens characters Finn and Poe Dameron), Captain America co-director Joe Russo also states that he welcomes all interpretations of Bucky and Cap’s relationship. Also worth noting about the Star Wars pairing is that John Boyega recently confirmed to ShortList writer Chris Mandle that while the Poe/Finn pairing isn’t canonical, it was definitely something that existed in the mind of Oscar Isaac, who played Poe in the film.

With more and more actors co-signing fandom imagination, the day when there will be a mainstream LGBT couple in genre films and television could be coming soon. Maybe not soon enough, to be honest, but still sooner than originally thought possible.

Related articles/sources:

The Breakout Fandom Couple of 2015: Stormpilot (“Star Wars: The Force Awakens”) (JUST ADD COLOR)

History of Homosexuality-19th Century (Wikipedia)

Meta Masterlist (http://loudest-subtext-in-television.tumblr.com/)

Meta: The Case of John Watson’s Sexuality (sherlockforum.com)

Hayley Atwell Discusses Agent Carter Season Two: Workplace Obstacles, Relationships, and “Cartinelli” (The Mary Sue)

Fan Expo 15: Atwell Declassifies “Agent Carter” Season 2 And Chris Evans’ Abs (Comic Book Resources)

The Heartbreak of LGBT Representation

As featured in COLORBLOCK Magazine, February 2016

There’s a lot of diversity in entertainment nowadays. Or is there? To say there’s “lots of diversity” in the media is to at once tell the truth and to lie. While the amount of non-white faces has increased in television and that the biggest movie of 2015, Star Wars: The Force Awakens, had a good portion of its cast played by non-white actors, the fight for diversity still wages on, and not just “diversity” in a racial sense. There’s also the fight for LGBT characters and relationships to be shown with as much regularity as straight characters and their relationships.
To get a good look at how LGBT characters and LGBT relationships have fared on the TV and film, let’s take a look at some of the stats GLAAD has compiled between 2012 and 2015.

LGBT TV STATS

Taking a look at the stats from the 2012-2016 GLAAD reports, television has done much better job of showcasing LGBT lives and love than the movies. However, when you take a look at the actual numbers, the truth is that television has done a better job of showcasing the lives of gay white men rather than all members of the LGBT community.

The biggest trend across the reports is that on the whole, gay white men make up half or more than half of the LGBT characters portrayed on television. Meanwhile, lesbian characters specifically usually make up half or less than half of LGBT characters; bisexual characters make up a paltry amount usually in the single-digit or barely double-digit numbers, but still more than transgender characters, who usually comprise about 2% of the LGBT character population.

On the whole, LGBT characters still comprise a small amount of the overall television character landscape. With a usual 96% straight character representation on television, only about 4% is comprised of LGBT characters.

EMPIRE: Jamal (Jussie Smollet, L) and Ryan (guest star Eka Darville, R) chat in the "Sins of the Father" episode of EMPIRE airing Wednesday, March 11 (9:01-10:00 PM ET/PT) on FOX. ©2015 Fox Broadcasting Co. CR: FOX Chuck Hodes/FOX
EMPIRE: Jamal (Jussie Smollet, L) and Ryan (guest star Eka Darville, R) chat in the “Sins of the Father” episode of EMPIRE airing Wednesday, March 11 (9:01-10:00 PM ET/PT) on FOX. ©2015 Fox Broadcasting Co. CR: FOX Chuck Hodes/FOX

The regularity to which LGBT characters are shown in relationships seems to be increasing, what with shows like Modern Family, Rosewood, Empire, Transparent, How to Get Away with Murder, Orange is the New Black and The 100, among others, showing gay relationships in a wide spectrum of emotion and depth. Overall, it seems television has shied away from the idea that LGBT people are the butts of jokes; increasingly, these characters are finally being portrayed with the same nuance that their straight counterparts have been for given for decades.

However, there’s still  lot that needs to be done. Bisexual, transgender, and lesbian relationships still aren’t shown at the rate that gay male relationships are, and if they are shown, they’re typically relationships featuring white individuals. Rosewood, Empire, and How to Get Away with Murder are some of the standouts for their portrayals of non-white or interracial LGBT relationships, featuring LGB and T characters.

ROSEWOOD: L-R: Gabrielle Dennis and Anna Konkle in the "Policies and Ponies" episode of ROSEWOOD airing Wednesday, Nov. 4 (8:00-9:00 PM ET/PT) on FOX. ©2015 Fox Broadcasting Co. Cr: John P. Fleenor/FOX.
ROSEWOOD: L-R: Gabrielle Dennis and Anna Konkle in the “Policies and Ponies” episode of ROSEWOOD airing Wednesday, Nov. 4 (8:00-9:00 PM ET/PT) on FOX. ©2015 Fox Broadcasting Co. Cr: John P. Fleenor/FOX.

 

Want to read more about diverse entertainment? Read the February issue of COLOR BLOCK Magazine!
colorblock-february-2016
 

 

LGBT FILM STATS

Film, on the other hand, has been lagging behind television. Seriously. Between 2012 and 2014, the number of films featuring LGBT characters is only 51 out of 317. That’s quite staggering. On top of that, the representation has been skewed; much like in television, the focus shifts primarily to gay white men, with lesbians, bisexuals, and transgender characters, not to mention any LGBT person who is also a person of color, are criminally underrepresented.

To go along with that, most LGBT characters are still found in comedies instead of other genres of film. This could be because LGBT characters have historically been reduced to stereotypical farce as a way to “other” them against the straight, normalized characters. However, Tangerine, a film featuring transgender characters played by transgender actors and featuring complex love and friendships (particularly the friendship between Mya Taylor and Kitana Kiki Rodriguez’s characters Alexandra and Sin-Dee), has been critically acclaimed. It has also been confirmed that Deadpool will be 20th Century Fox’s first film starring a pansexual character, who is of course, the lead character of the same name. Also, as you’ll read about later on, there’s been an astronomical push to have Finn and Poe Dameron, the two main male characters from Star Wars: The Force Awakens, to be in a relationship, as well as have Rey, the main female lead, be asexual and/or aromantic or lesbian.

Mya Taylor and Kitana Kiki Rodriguez in Tangerine, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.
Mya Taylor and Kitana Kiki Rodriguez in Tangerine, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.

However, with films like Star Wars (and to a lesser extent, all of the films released from major studios), the conventional worry is that a big player like Disney won’t jeopardize their bottom line with countries like China, who has stringent censorship laws, by having a same-sex relationship. However, if Deadpool rakes in the dough domestically as well as internationally, especially if his sexuality comes into play in the film, it could provide major studios enough leverage to greenlight a same-sex relationship.

The data also shows that the upward momentum in film and TV is still at a snail’s pace. In order for representation to exponentially grow, some studio is going to have to make the plunge. For instance, if it ever decided to listen to the very vocal portion of the fandom about same-sex relationships in film, it could very well be in Disney’s court to be that pioneering studio. If Disney won’t be the first, one of the other big studios will; regardless, after that particular studio steps up to the plate and succeeds, then the others will fall in line. Another way the status quo could change is by more indie films like Tangerine showing it’s possible to create LGBT-based films that are also lucrative investments. Or, change could come as a combination of the two. The downside is that it’s a shame that money has to be tied to a fight for representation at all.

References:

GLAAD “Where on TV” reports for 2013-2015, GLAAD Studio Responsibility Indexes for 2013-2015

https://www.glaad.org/files/whereweareontv12.pdf

http://www.glaad.org/whereweareontv13

http://www.glaad.org/whereweareontv14

http://www.glaad.org/whereweareontv15

http://www.glaad.org/sri/2013

http://www.glaad.org/sri/2014

http://www.glaad.org/sri/2015

 

The Breakout Fandom Couple of 2015: Stormpilot (“Star Wars: The Force Awakens”)

Star Wars: The Force Awakens has indeed awakened the slumbering mass that is the Star Wars fandom, which has been waiting for the franchise’s return to greatness. The film, starring and John Boyega, Daisy Ridley, and Oscar Isaac (as well as the members of the original cast), has already reached $1.23B at the time of this article, and surely, the film will reach even greater heights the longer it stays in the theaters. (This is also not taking into account the millions or billions of dollars spent on The Force Awakens merchandise.)

While the film is being touted as a tour-de-force of nostalgia and a refreshed look at a “galaxy far, far away,” the film has also been an achievement in diversity due to having well-rounded and powerful female characters (with the exception of Gwendoline Christie’s Captain Phasma, who—while cool—will hopefully be fleshed out in upcoming films) and two leads of color, Boyega and Isaac, who open the film. (The fact that their faces are the first faces we see in the movie immediately cemented the film as a break away from Hollywood’s normal modus operandi.) Boyega and Isaac’s characters, disillusioned ex-Stormtrooper Finn and Resistance fighter pilot Poe Dameron, have also acted as ambassadors to another type of diversity not usually found in films; characters who might not only be on the LGBT spectrum, but might also be in a same-sex relationship.

The fandom who propose Finn and Poe’s relationship (named “Stormpilot” or “FinnPoe”) to the masses provide several clues as to why they thing Stormpilot is possible. First, Poe gave Finn his name; instead of continuing to call Finn “FN-2187” during their escape from Stormkiller Base, Poe immediately decides to call him Finn, thus giving Finn a new identity and a new lease on life. Second, Finn keeps Poe’s jacket when, after the crash-land on Jakku, Finn assumes Poe’s died in the crash. Third, Finn completes Poe’s mission to get BB-8’s message to the resistance base. Fourth, Finn and Poe passionately embrace after realizing the other is alive and kicking after all.

All bets are off when Poe lets Finn keep his jacket, saying “It suits you.” Poe, biting his own lip before speaking, then says with bedroom eyes, “You’re a good man, Finn.” The playful punch to Finn’s shoulder simply looks like a feeble attempt to cover up what could be construed as obvious flirting. Finn’s focused stare back (as well as another focused stare he gives Poe after Poe slaps his shoulder again in a pseudo-camaraderie fashion before taking to the skies in his X-Wing) seems to suggest that Finn can feel something brewing between them as well.

The clues start coming together after Isaac revealed, albeit with a little dry humor thrown in, that he was, in fact, playing up a romantic angle with his character. John Boyega seems to concur.

Normally, fandom character pairings, or “ships” (short for “relationships”) don’t make headline news. But Stormpilot not only lit up fan spaces like Tumblr and Twitter, but also mainstream sites like E! Online, Buzzfeed, Hypable, Vanity Fair, USA Today, Metro, Pink News, Comic Book Resources, The Mary Sue, Bleeding Cool, MoviePilot and certainly many more.

Star Wars fan Stephanie wrote one of the many pieces on Stormpilot for The Geekiary. The post, called “Everyone is Talking About Our ‘Star Wars’ Slash Ship'” (with “slash” fandom slang for same-sex pairings) focuses on Stephanie’s cautious optimism when it comes to how those outside of the fandom ship world will accept Stormpilot’s existence. “The best thing about mainstream coverage…is that it normalizes queer romances,” she wrote in her article. “…When all these outlets are reporting on our fan activities as something worth noting, it sends a powerful message to studios that there’s an audience out there that wants these narratives.” However, Stephanie notes in her article, the usage of some outlets using the term “bromance” when describing a ship that much more than just friendship can be problematic and awkward. “The main issue with mainstream media’s coverage of slash shipping is that, since we’re so obscure and don’t often leave our isolated communities, they don’t quite know how to talk about it,” she wrote. “Even worse, this can be an indicator that mainstream press just doesn’t know how to talk about queer romance in general, even in regard to non-fandom inspired pairings.”

Stephanie stated in an email interview about her feelings behind her article. “I wrote my article because I was feeling so heavily conflicted about the fact that this ship was getting such a large amount of mainstream coverage so quickly. On the one hand, I’m elated that a slash ship is getting generally positive coverage. It helps legitimize LGBTQ+ relationships in general, and makes it possible for more visibility going forward. On the other hand, we don’t exactly have the best track record with mainstream press understanding fandom culture. It often feels like we are being gawked at, made fun of, or just outright misrepresented,” she wrote. “I’m really grateful that, so far, we haven’t had any coverage that’s treated us poorly. With any luck, we won’t and all of my worrying will be for naught. We definitely need to lose the term ‘bromance,’ though. Please. Romance is romance and we don’t need to ‘bro’ it up to soften it. But that’s been my only issue so far and it’s relatively small compared to what’s been done to us in the past.”

Stephanie didn’t immediately latch onto Stormpilot after her first viewing of The Force Awakens, but now sees the developing relationship as playing on classic romantic beats. “Unlike a lot of my friends, I didn’t walk out of the theater shipping them right away. I did, however, come out of the film immediately drawn to Poe Dameron. When I got home and discussed it with friends I was introduced to the idea of shipping him with Finn within 24 hours of my first viewing and it didn’t take me very long to get on board with that idea completely,” she wrote. “There are a lot of romantic tropes that code them as being in the early stages of a romance such as clothing sharing, nicknames (or in Finn’s case, a name that isn’t a Stormtrooper number), and even that long dramatic run into each others arms when they realize the other isn’t dead. I’ve seen the film two additional times since my first viewing with my slash goggles on and everything just falls perfectly into place.”

Stephanie attributes Star Wars large fanbase for the reason Stormpilot became the phenomenon it is.  “I think a lot of what has drawn people to Stormpilot is what draws people to slash pairings in general, but on a much larger scale since the Star Wars fandom is so huge. Many LGBTQ+ people like myself enjoy queer pairings because we just don’t get them that often in mainstream media. It feels good to see characters that reflect our own sexuality off on adventures,” she wrote. “Many heterosexual women are drawn to slash ships either because they like the idea of two men together in general, or because these specific characters in this specific story happens to speak to them regardless of gender. The interesting thing is that I’ve seen many straight men also shipping Stormpilot, which seems to be rare in a lot of my other slash pairings (though not unheard of). There might be more visibility here because of how huge the fandom is. Or maybe straight men are just getting comfortable enough to admit that these guys are kind of perfect for each other. I’m not sure why there’s a higher visibility of heterosexual men shipping Finn and Poe, but it’s definitely unique.”

Geek Girl Diva, another Star Wars fan onboard with Stormpilot, wrote a similar response in an email interview to the fandom’s love for the pairing. “I think people connect with both the characters and how they are with each other. Poe and Finn already have a friendship that’s romantic in a sense,” she wrote. “They fell into immediate like with one another. You get the sense that both Boyega & Isaac would be totally down with playing gay characters and Isaac has a very open faced admiration. I think people connect to the deep liking these two have for one another, and it’s not a stretch to take it to the next level.”

Geek Girl Diva was immediately a part of the Stormpilot fanbase thanks to the ever-present chronicler of fandom things, Tumblr. “It was all Tumblr, bless its shipping heart,” she wrote. “Once I saw the meme, I fell in love with the ‘ship.”

The fact that so many people, men and women alike, have latched onto Stormpilot could have implications for how Disney and the Star Wars movie team goes forward, right? Or could stuff stay at the status quo? With so many billions at stake, and with such a wide intersection of people in the Star Wars fandom (some of whom aren’t as open towards LGBT representation), it’s difficult to say if Disney and Lucasfilm will take the promise of diversity to the next level.

“I think [the mainstream press is] great, wrote Geek Girl Diva, adding, “As much as I love the ship (and I love it like a house on fire), I don’t think Stormpilot is in the cards on the big screen. But I do think Poe could very well be gay and he’d be a perfect way to bring an LGBT character into the Star Wars Universe.”

LONDON, UK - DECEMBER 16: Actors John Boyega and Oscar Isaac attend the European Premiere of the highly anticipated Star Wars: The Force Awakens in London on December 16, 2015.
LONDON, UK – DECEMBER 16: Actors John Boyega and Oscar Isaac attend the European Premiere of the highly anticipated Star Wars: The Force Awakens in London on December 16, 2015.

There has been a Change.org petition asking Lucasfilm’s president Kathleen Kennedy to include LGBT characters in the new Star Wars films. When it comes to whether the petition could cause a rush of LGBT characters to enter the Star Wars film franchise is difficult to say. But both Stephanie and Geek Girl Diva point out that LGBT characters are already a part of the franchise, if just in books and games.

“Lucasfilm has already made the jump into showing LGBT characters, first in [Star Wars: The Old Republic] and then in a couple of the new canon books (Chuck Wendig’s Aftermath & Claudia Gray’s Lost Stars),” wrote Geek Girl Diva. “I don’t know 100% that Poe isn’t already the lead into an LGBT presence in the films. I think he might be, but it’s a guess and nothing more. That said, I do think that the Stormpilot love could make it easier for [Lucasfilm] to flip that switch. But I’m not in a position to make a decision on that.”

“Thanks to Chuck Wendig, there are LGBTQ+ characters in the novels, but we are still lacking big screen representation. I have a feeling that if they were planning for Poe and Finn to be in an onscreen romance, that’s already been decided and a petition wouldn’t sway that,” wrote Stephanie. “However, something like Poe’s sexuality may still be negotiable and we could have an affect on that. Poe’s sexuality hasn’t been touched on and Oscar Isaac has been incredibly supportive in interviews. He’s treated the idea of two men in a romantic relationship with respect and even said he’d go for a rainbow colored lightsaber. This could all be joking, of course, but I get a strong vibe from him that he’s supportive of our community. It’s hard to explain why, exactly, but these tidbits from his interviews don’t feel like they [Lucasfilm] are ‘making fun’ of us at all.”

“Finn’s sexuality may be more difficult to sway. Unfortunately we operate in a ‘straight until proven otherwise’ mindset with the majority of mainstream media, and the idea of bisexuality seems particularly difficult for a lot of writers to grasp,” Stephanie added. “With Finn expressing even a moderate interest in Rey, this could be the writers coding him as heterosexual. But hey, it’s possible that the people who are writing the next couple of scripts could have a good grasp on the idea that you can be attracted to more than one gender at a time and we may get bisexual Finn after all.”

Some news that’s made the social media rounds is that Captain Phasma will have an extended role in future films due to fan support. With the amount of fan support Stormpilot has, it’s in the realm of possibility that Disney and Lucasfilm could think twice about the extent of Poe and Finn’s relationship. But again, it’s tough to say since there’s so much money and investment on the line.

“It’s possible. Adding a few extra interactions without rewriting an entire script isn’t too huge, but if the characters are written, say, on completely different planets for most of the film it may be hard,” wrote Stephanie when asked if she thought there was a possibility for Disney and Lucasfilm to make fanon canon. “But if we don’t cause enough enthusiasm for Episode VIII, there’s always Episode IX. This is a trilogy and I’m sticking with Stormpilot for the long haul. Just have to keep my fingers crossed that neither of them die in the next film. That’s pretty much the only thing that’d put a nail in the coffin for future interaction.”

Geek Girl Diva differs slightly on the issue. “On [Phasma returning to the series], I think that was a bit different. Phasma caught fire for a few reasons and it’s a lot easier to beef up her story than it is to add in a relationship between two lead characters,” she wrote. “In the end, I think that’s entirely up to [Episode VIII director and Episode IX writer/director] Rian Johnson and the [Lucasfilm] Story Group. It all depends on what the arc is for the trio in the larger story. I don’t think Disney & [Lucasfilm] will shy away from any interaction, but I don’t think they’ll play it up just for fans. I think, in the end, the filmmakers will do what they feel is the best fit for the trilogy and the story.”

“If I have a personal hope, it’s not for Stormpilot (even though I love the ship),” Geek Girl Diva added. “In a perfect world, where we get diversity of all kinds, we get a female lead, a hetero interracial couple and a gay character (maybe in a relationship with a male alien? Let’s think big!), all of whom are great friends and join together to defeat the Darkness. I can work with that just fine.”

If Poe and Finn do become canon, what will Disney do about LGBT representation for women? Of course, the franchise will add characters to subsequent films, but if fans want someone from the main Big Three characters, there seems to be a lot of support for Rey being asexual and/or aromantic. Much of the support for Rey as being along the LGBT spectrum seems to stem from the fact that even though there’s ample time (and many open invitations from Finn) for Rey to take their friendship to the next level, Rey seems to be more enamored with the idea of what Finn leads her to think he is; she’s more fascinated by the idea of him being a part of the Resistance and belonging to something great rather than him being an available guy. Also, she’s more concerned with the mission at hand, getting BB-8 back to the base, rather than hooking up. The final scenes find Rey not cementing a romance with Finn, but with her kissing his forehead while he’s in a comatose state, a goodbye before she heads to the island Luke Skywalker is hiding on in the hopes of being trained by him. Her new mission is to focus on her handling of the Force, not being someone’s girlfriend.

The call for making Rey along the LGBT spectrum would naturally add to the film franchise’ commitment to diversity, but there’s also a smaller contingent of the fandom who want Rey to be lesbian, bi, or asexual/aromantic simply at the expense of removing her characterization and forcing her into the box of a spectator or as a voyeuristic avatar for the fan him/herself. Several fans on Tumblr seem to imply that they want Rey to be asexual and aromantic not for reasons concerning diversity, but just so she won’t interfere with Poe and Finn’s possible relationship. Asexuality and aromantic individuals deserve to be showcased on the big and small screens, which is what happened on USA’s Sirens, which featured asexual paramedic Valentina aka “Voodoo”, who dated non-asexual fellow paramedic Brian. But asexuality and aromanticism—two orientations that don’t describe a lack of a person’s desire for basic human affection, but just the levels to which a person might desire affection—shouldn’t be used as a way to box a character in at the expense of two other characters’ possible romantic relationship.

Such fear of Rey being a wedge between Poe and Finn should be left by the wayside, since directors are beginning to, at the very least, not write fans off for their non-canonical opinions. One example is Captain America co-director Joe Russo stating in an interview (via Vanity Fair) that while he has always personally viewed Steve Rogers and Bucky Barnes’ relationship as brotherly, he doesn’t begrudge or limit anyone else from their own points of view. “People can interpret the relationship however they want to interpret it…People have interpreted that relationship all kinds of ways, and it’s great to see people argue about…what that relationship means to them,” he said. “We will never define it as filmmakers, explicitly, but however people want to interpret it they can interpret it.”

This movement towards fan inclusivity, as well as actors like Isaac suggesting he was playing at romance with another male character, means a lot when it comes to the struggle to get proper LGBT representation. But, as the Vanity Fair article linked above points out, the road towards true inclusivity might be even longer than fans are prepared for. However, something can be said for progress happening in leaps and bounds after years of stuttering steps. Take a look at marriage equality; it has taken over a decade to get marriage equality in a majority of the states, and then, one day, marriage equality was nationwide with the swift smack of the Supreme Court’s gavel. So who knows as to what kind of romantic future Finn and Poe (or Rey) have. While we could be going to the theaters in 2017 with Finn in a relationship with a girl, we could find Finn and Poe in same-sex relationships (if not with each other) and Rey exploring the universe of sexual identity while she hones her Jedi skills. The ball is in Disney and Lucasfilm’s court; let’s see what play they make.

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The Stonewall Inn Is Now an Official Landmark

The Stonewall Inn

The Stonewall Inn in Greenwich Village has been in the news recently, and unfortunately, it’s because of the critically-panned Roland Emmerich film, Stonewall. Mostly everyone who’s seen it has hated it, either for its poor story, its whitewashing of actual LGBT history (which includes people of color at its center) or both. But now, The Stonewall Inn is in the news for a great reason: it’s now an official landmark. 

Queer Coded: Carmilla

Carmilla is a vampire book that, in my opinion, really isn’t as veiled of a homoerotic piece of fiction like Dracula is. While Dracula is couched in mystery and has a fairly strong tug of (suspiciously aggressive) heterosexual love, Carmilla is  full-on lesbian erotica. But also like Dracula, it’s also a piece that functions as a cautionary tale against same-sex love. 

Exclusive Interview: Angela Giampolo (Giampolo Law Group)

After the SCOTUS ruling on marriage equality last week, there have been many celebrations (and rightly so), but there’s also a sense of “what’s next?” that’s beginning to come into play. With some states still resistant to handing out marriage licences and political hopefuls running on the platform of religious freedom, some might be wondering just what’s the next phase of the LGBTIQA civil rights fight as far as the right to marry is concerned.

I was excited to speak with Angela Giampolo of Giampolo Law Group earlier this week. The Philadelphia, PA-based law group focuses primarily on LGBT law, family law, business, real estate, and international law. Along with her work as an attorney, Giampolo has written several columns for notable sites such as Philadelphia Gay News, Edge Media Network and Philadelphia Business Journal, and has been featured as a guest on radio and television (including the likes of Fox News and WHYY, Philadelphia’s NPR station).

In this interview, Giampolo gives her reaction to the ruling as well as what people can expect now that the ruling has taken effect. She also discusses her hopes for America when it comes to minority issues in general.