I'm sure you all know by now that Federal Judge Virginia Phillips issued an injunction last week that prohibits the Department of Defense from enforcing their discriminatory Don't Ask Don't Tell policy.
The Government then requested that she stay her order pending their appeal of her decision and today she denied that request. All of which means that, for now at least, the United States military is required to allow gay and lesbian service members to serve openly!
That's a huge step forward for gay rights, even if it's not yet an overall victory against this particular means of discrimination. All of this could have happened in January of 2009 with a single stroke of President Obama's pen, of course, and it's ridiculous that this administration continues to drag their feet on this, even now.
Check out author/blogger Matthew Rettenmund's account (with video) of Lt. Dan Choi re-enlisting in the army this afternoon as an openly gay man.
Tuesday, October 19, 2010
Tuesday, September 07, 2010
Books and Glee
Hello again! I really miss blogging on a regular basis, but every time that I think things are about to slow down a bit for me, it turns out that I'm mistaken. "Maybe this time..." (insert mental/aural flashback to Chenoweth singing that on Glee last season!)
First up, since I just mentioned Glee, I wanted to say that I was thrilled with Jane Lynch's win for Supporting Actress in a Comedy Series at this year's Emmy Awards. It was a much deserved honor for her, and I hope it's the first of many. I was sad that the show didn't win for Best Comedy, but at least it lost to another gay friendly show (I really do need to check out Modern Family).
More than anything, though, I was disappointed that Chris Colfer didn't win for Supporting Actor or Mike O'Malley for Guest Actor. Their scenes together as Kurt and his father, Burt, were the highlight of the television season for me. Maybe the problem is that they were nominated in the comedy category for scenes that were pretty intense and emotional? Still, there's always next year!
The upside to O'Malley's loss, of course, was that Neil Patrick Harris won for his own guest starring role on Glee. It was the first Emmy win ever for one of my very favorite actors (who, if you hadn't heard, is going to become a parent to twins with his longtime partner David Burtka! Luckiest kids ever!!).
There are only two weeks to go until the second season of Glee starts, and I can't wait. One nice thing about having had such a busy summer is that it really still seems like the season finale just aired a few weeks ago. It doesn't feel like I had to wait at all.
Something else that I wanted to discuss tonight was books. About a week ago, Lambda Literary wrote about some of the most anticipated LGBT books coming out this fall.
Leading the pack is the book I've been excited about for quite some time now, Armistead Maupin's Mary Ann In Autumn. It's coming out in November and I've been counting the days. My plan was to re-read the entire Tales of the City series in anticipation of the release, but a few months back I found out that a friend of mine had never read any of the books, so I lent them all to her at once and now I'm not sure when I'll get them back. I doubt I'll be able to restrain myself from devouring Mary Ann in Autumn the minute it's in my hands, so that plan is probably out the window.
What a year it has been, though. A new Tales of the City book and a new Stephen McCauley. I don't think I ever followed up on Insignificant Others here after I'd read it, but I really enjoyed it a lot.
The only thing that's really missing to complete this year for me is a new novel by Alan Hollinghurst! Or, if the fates wanted to really be generous, a new collection of stories in the Buddies cycle from Ethan Mordden.
I have to say, I love working in a bookstore. I geek out over books all the time and it's nice to be surrounded by co-workers and customers who act the same way. I love the way someone's whole face just lights up when they spot a new novel by a favorite writer.
Anyway, another book on Lambda Literary list is Michael Cunningham's new title, By Nightfall. I'm a bit ambivalent about that one. I loved The Hours and A Home at the End of the World, and I've got a copy of Flesh and Blood that I've been meaning to get to since forever, so you'd think I'd be more excited.
The thing is, I was filled with anticipation back in 2005 when his last novel, Specimen Days, came out. I really couldn't wait to get my hands on it, but then once I did I didn't like it at all. To be fair, I didn't get that far before I abandoned the effort, so I may give it a try again someday.
Oh, and there's a brand new literary prize out there for gay men's books. The Green Carnation Prize came into existence in reaction to some of the more mainstream lit prizes, as the Chair, Paul Magrs, explains:
I'm all for another prize that brings attention to LGBT fiction (or non-fiction, as the case may be) and gives me more books to read! They've already announced this year's Longlist:
One last thing tonight. I had an e-mail asking if I was ever going to write about the Noah/Luke/Reid story on As the World Turns again. Yes, I will. The truth is, though, that I haven't watched a single episode of the show since May. I have saved all the Luke episodes on my Tivo and I'll probably marathon them at some point in the (near?) future and write about the end of the story at that point. It's just a matter of finding the time.
First up, since I just mentioned Glee, I wanted to say that I was thrilled with Jane Lynch's win for Supporting Actress in a Comedy Series at this year's Emmy Awards. It was a much deserved honor for her, and I hope it's the first of many. I was sad that the show didn't win for Best Comedy, but at least it lost to another gay friendly show (I really do need to check out Modern Family).
More than anything, though, I was disappointed that Chris Colfer didn't win for Supporting Actor or Mike O'Malley for Guest Actor. Their scenes together as Kurt and his father, Burt, were the highlight of the television season for me. Maybe the problem is that they were nominated in the comedy category for scenes that were pretty intense and emotional? Still, there's always next year!
The upside to O'Malley's loss, of course, was that Neil Patrick Harris won for his own guest starring role on Glee. It was the first Emmy win ever for one of my very favorite actors (who, if you hadn't heard, is going to become a parent to twins with his longtime partner David Burtka! Luckiest kids ever!!).
There are only two weeks to go until the second season of Glee starts, and I can't wait. One nice thing about having had such a busy summer is that it really still seems like the season finale just aired a few weeks ago. It doesn't feel like I had to wait at all.
Something else that I wanted to discuss tonight was books. About a week ago, Lambda Literary wrote about some of the most anticipated LGBT books coming out this fall.
Leading the pack is the book I've been excited about for quite some time now, Armistead Maupin's Mary Ann In Autumn. It's coming out in November and I've been counting the days. My plan was to re-read the entire Tales of the City series in anticipation of the release, but a few months back I found out that a friend of mine had never read any of the books, so I lent them all to her at once and now I'm not sure when I'll get them back. I doubt I'll be able to restrain myself from devouring Mary Ann in Autumn the minute it's in my hands, so that plan is probably out the window.
What a year it has been, though. A new Tales of the City book and a new Stephen McCauley. I don't think I ever followed up on Insignificant Others here after I'd read it, but I really enjoyed it a lot.
The only thing that's really missing to complete this year for me is a new novel by Alan Hollinghurst! Or, if the fates wanted to really be generous, a new collection of stories in the Buddies cycle from Ethan Mordden.
I have to say, I love working in a bookstore. I geek out over books all the time and it's nice to be surrounded by co-workers and customers who act the same way. I love the way someone's whole face just lights up when they spot a new novel by a favorite writer.
Anyway, another book on Lambda Literary list is Michael Cunningham's new title, By Nightfall. I'm a bit ambivalent about that one. I loved The Hours and A Home at the End of the World, and I've got a copy of Flesh and Blood that I've been meaning to get to since forever, so you'd think I'd be more excited.
The thing is, I was filled with anticipation back in 2005 when his last novel, Specimen Days, came out. I really couldn't wait to get my hands on it, but then once I did I didn't like it at all. To be fair, I didn't get that far before I abandoned the effort, so I may give it a try again someday.
Oh, and there's a brand new literary prize out there for gay men's books. The Green Carnation Prize came into existence in reaction to some of the more mainstream lit prizes, as the Chair, Paul Magrs, explains:
“This all came about because, suddenly it was literary award season again and longlists were getting bandied about like crazy. And it’s annoying because those lists seem a bit ready-made, middlebrow, monotonous and obvious. Anyway, late July 2010 and there’s the usual palaver about the Booker Longlist. It was obviously going to be the same old gubbins and some of the same old names. And the same nonsense about ‘literary’ fiction being a separate, rarefied preserve, quite apart from other genres.
Anyway, we thought – wouldn’t it be fun and great to do something a bit different?
And then we thought – there’s no prize yet for gay men’s books in the UK. That’s a scandalous thought. There ought to be something that celebrates and publicizes the breadth and variety of their work.
Writing by gay men can be funny, exciting, harrowing, uplifting and challenging – and it can range right across the genres. It can also be created by men from all classes and races."
I'm all for another prize that brings attention to LGBT fiction (or non-fiction, as the case may be) and gives me more books to read! They've already announced this year's Longlist:
- Generation A by Douglas Coupland
- Bryant and May Off the Rails by Christopher Fowler
- Paperboy by Christopher Fowler
- In A Strange Room by Damon Galgut
- God Says No by James Hannaham
- London Triptych by Jonathan Kemp
- Mary Ann in Autumn by Armistead Maupin
- Children of the Sun by Max Schaefer
- Man’s World by Rupert Smith
- The Slap by Christos Tsiolkas
- City Boy by Edmund White
One last thing tonight. I had an e-mail asking if I was ever going to write about the Noah/Luke/Reid story on As the World Turns again. Yes, I will. The truth is, though, that I haven't watched a single episode of the show since May. I have saved all the Luke episodes on my Tivo and I'll probably marathon them at some point in the (near?) future and write about the end of the story at that point. It's just a matter of finding the time.
Wednesday, August 04, 2010
Prop 8 Overturned
I couldn't let the great news from California today go unremarked upon.
If you haven't heard (and how could you not have?!), Federal Judge Vaughn Walker ruled today that California's Proposition 8, the state constitutional amendment that revoked the rights of same sex couples to marry in that state, was unconstitutional.
This is obviously fantastic news for equality in California and in the United States as a whole. We're getting ever closer to the day when LGBT Americans have the same civil rights that heterosexuals take for granted.
Of course, it's also just the latest step in the process, since from here the ruling will be appealed to Ninth Circuit Court of Appeals and from there to the Supreme Court.
Towleroad has a fascinating round up of reaction quotes from both sides of the issue that's worth taking a look at. Those from the supporters of Prop 8 are irritating, to put it mildly, but they do illustrate the mindset of those we're up against in this fight for equality.
If you haven't heard (and how could you not have?!), Federal Judge Vaughn Walker ruled today that California's Proposition 8, the state constitutional amendment that revoked the rights of same sex couples to marry in that state, was unconstitutional.
This is obviously fantastic news for equality in California and in the United States as a whole. We're getting ever closer to the day when LGBT Americans have the same civil rights that heterosexuals take for granted.
Of course, it's also just the latest step in the process, since from here the ruling will be appealed to Ninth Circuit Court of Appeals and from there to the Supreme Court.
Towleroad has a fascinating round up of reaction quotes from both sides of the issue that's worth taking a look at. Those from the supporters of Prop 8 are irritating, to put it mildly, but they do illustrate the mindset of those we're up against in this fight for equality.
Saturday, July 31, 2010
Man Booker Longlist
July has been an exhausting month for me and I'm glad that it's coming to an end. I'm cautiously optimistic that I'll have more time to blog from this point on.
Even though this past month felt like it was endless at times, it still doesn't feel like a whole year could possibly have gone by since the longlist for the Man Booker Prize was announced. That must be the case, though, since this year's 13 picks have been announced:
Of course, experience has taught me that some of the books that are on the longlist for this UK based prize won't have been published in the United States yet, so I no longer attempt this feat. The annual prize does add several titles to my own To Read list, though.
One of my favorite blogs, Band of Thebes, has pointed out that there are three openly LGBT authors among those on the longlist this year: Emma Donoghue, Damon Galgut, and Christos Tsiolkas.
It speaks to the international flavor of the award (which is for authors from the U.K., Ireland, or the Commonwealth of Nations made up of many of Britain's former colonies) that the three LGBT authors also represent different countries: Donoghue is from Canada by way of Ireland, Galgut is from South Africa, and Tsiolkas is Australian.
Both Tsiolkas and Galgut's books have been published in the United States, so I may well be reading those soon. The Slap, in particular, sounds like something I'd like to read (the description is taken from Joanne Wilkinson's Booklist review):
As always, though, almost every book on the list calls out to me in its own way. The shortlist will be announced on September 7th and the prize will be awarded on October 12th.
Even though this past month felt like it was endless at times, it still doesn't feel like a whole year could possibly have gone by since the longlist for the Man Booker Prize was announced. That must be the case, though, since this year's 13 picks have been announced:
Peter Carey Parrot and Olivier in America
Emma Donoghue Room
Helen Dunmore The Betrayal
Damon Galgut In a Strange Room
Howard Jacobson's The Finkler Question
Andrea Levy The Long Song
Tom McCarthy C
David Mitchell The Thousand Autumns of Jacob de Zoet
Lisa Moore February
Paul Murray Skippy Dies
Rose Tremain Trespass
Christos Tsiolkas The Slap
Alan Warner The Stars in the Bright Sky
The Man Booker prize was really the first annual literary prize that I ever became aware of and every year the longlist still makes me want to read each title before the shortlist and eventual winner are announced. I'd love to form my own opinion in advance on which book was the most deserving.
Of course, experience has taught me that some of the books that are on the longlist for this UK based prize won't have been published in the United States yet, so I no longer attempt this feat. The annual prize does add several titles to my own To Read list, though.
One of my favorite blogs, Band of Thebes, has pointed out that there are three openly LGBT authors among those on the longlist this year: Emma Donoghue, Damon Galgut, and Christos Tsiolkas.
It speaks to the international flavor of the award (which is for authors from the U.K., Ireland, or the Commonwealth of Nations made up of many of Britain's former colonies) that the three LGBT authors also represent different countries: Donoghue is from Canada by way of Ireland, Galgut is from South Africa, and Tsiolkas is Australian.
Both Tsiolkas and Galgut's books have been published in the United States, so I may well be reading those soon. The Slap, in particular, sounds like something I'd like to read (the description is taken from Joanne Wilkinson's Booklist review):
At a barbecue in a Melbourne suburb, a man loses his temper and slaps the child of the host’s friends. This incident unleashes a slew of divisive opinions, pitting friends and families against each other as the child’s parents take the man to court. Told from eight different viewpoints, the novel also deftly fills in disparate backstories encompassing young and old, single and married, gay and straight, as well as depicting how multiculturalism is increasingly impacting the traditional Aussie ethos. For good measure, the author also throws in male vanity, infidelity, and homophobia.
As always, though, almost every book on the list calls out to me in its own way. The shortlist will be announced on September 7th and the prize will be awarded on October 12th.
Thursday, July 08, 2010
Emmy Nominations for Glee
Things have been busy for me lately but I'm hoping to be able to blog again on a regular basis at some point in the near future.
In the meantime, I just wanted to mention that Glee has been nominated for 19 Emmy Awards! This includes nods for Matthew Morrison (Best Actor), Lea Michele (Best Actress), Jane Lynch (Best Supporting Actress), Chris Colfer (Best Supporting Actor), Mike O'Malley (Best Male Guest Star), Neil Patrick Harris (Best Male Guest Star) and Kristin Chenoweth (Best Female Guest Star), as well as a Best Comedy nomination.
I'm thrilled with all of these nominations, but I'm especially glad to see Chris Colfer and Mike O'Malley on the list. Their scenes together last season were so amazing and they both deserve to take home the Emmy next month.
The only thing that I'm a little disappointed with is not seeing Jonathan Groff's name among the nominees.
It should of course go without saying that if the brilliant Jane Lynch doesn't win for her work as Sue Sylvester, the Emmys will instantly lose all credibility.
In the meantime, I just wanted to mention that Glee has been nominated for 19 Emmy Awards! This includes nods for Matthew Morrison (Best Actor), Lea Michele (Best Actress), Jane Lynch (Best Supporting Actress), Chris Colfer (Best Supporting Actor), Mike O'Malley (Best Male Guest Star), Neil Patrick Harris (Best Male Guest Star) and Kristin Chenoweth (Best Female Guest Star), as well as a Best Comedy nomination.
I'm thrilled with all of these nominations, but I'm especially glad to see Chris Colfer and Mike O'Malley on the list. Their scenes together last season were so amazing and they both deserve to take home the Emmy next month.
The only thing that I'm a little disappointed with is not seeing Jonathan Groff's name among the nominees.
It should of course go without saying that if the brilliant Jane Lynch doesn't win for her work as Sue Sylvester, the Emmys will instantly lose all credibility.
Sunday, June 13, 2010
Thoughts on the Tony Awards
I just finished watching my favorite of all award shows, the Tony Awards, and I thought I'd share some thoughts about the show.
I like Sean Hayes and he had a couple of amusing moments tonight while he was hosting the show, but I honestly wasn't very impressed overall by the job he did, especially during his opening monologue. In fairness to Sean, though, I have to say that Neil Patrick Harris, who hosted the Tonys brilliantly last year, is a very tough act to follow.
I had to wonder why they hadn't asked his Promises, Promises co-star, Kristin Chenoweth, to host the show, or at the very least to co-host with Sean. Her bit tonight about not having been nominated was great, as was her appearance at the beginning to make out with Sean and demonstrate that they had plenty of on stage chemistry.
The show opened with a medley of performances from this year's new musicals, which I liked, but there were sound problems which really disappointed me, especially since the same thing happened last year, too, and you'd think that they would have learned from that!
The highlight of the medley for me was Kristen Chenoweth's song from Promises, Promises and the song from American Idiot, followed by a performance from Green Day.
I wasn't really rooting for anyone in particular tonight, so I don't have a lot to say about who won or didn't win, except in one instance: after watching all the performances from the nominated shows, I found myself hoping that American Idiot would win for Best Musical. Then again, I was probably already a bit biased since I've always loved the source material for that show.
Still, of everything I sampled tonight that is probably the show I'd be most likely to see if I had to pick just one.
In addition to loving the performance from American Idiot (and what a trio of hotties the leads are, by the way!) I liked what I saw from the casts of Million Dollar Quartet, La Cage Aux Folles, and Memphis (though there were some sound problems in that last one) and I thought Catherine Zeta Jones' rendition of 'Send in the Clowns' from A Little Night Music was incredibly beautiful.
My education in all things Musical Theater, which began early last year, has continued steadily ever since.While I still have a lot to learn and to experience, I have familiarized myself with most things Sondheim. I really love the original cast album of A Little Night Music and I've been wanting to check out the revival's cast album, with Zeta Jones and the incomparable Angela Lansbury, and tonight just gave me even more reason to do so.
I was just reading yesterday that Bernadette Peters and Elaine Stritch are taking over for Zeta Jones and Lansbury in the show this summer and I'd love to be able to hear their version, too! I haven't really experienced any of Bernadette's work yet, but Company is one of my favorite cast albums thus far and Elaine's 'The Ladies Who Lunch' is my favorite song from that show.
But back to tonight. The performances from Ragtime and Fela were the only two that I just couldn't get that into. That's not to say I thought they were bad, of course. I just didn't really connect with either of them.
What I did connect with were the special performances by Matthew Morrison and Lea Michele. I was a bit disappointed in one sense, I admit: I thought they'd be singing together, when in actuality they gave back to back solo performances.
That's a minor quibble, though, because they were both incredible. Matthew did 'All I Need is the Girl' from Gypsy and not only did he sound amazing, but he was as hot as I've ever seen him, and that's really saying something!
I felt a tiny bit let down when the music for Lea's number began and it was 'Don't Rain on My Parade'. I absolutely loved her rendition of the song on Glee, but my first thought tonight was that she should have sung something we all hadn't heard her do so recently.
That went right out the window, though, when she started singing. Hearing her do the song live, with so much more intensity than she brought to it as her character on Glee, was a totally different experience. She was phenomenal, there is no other word to describe it. What a voice, what a star!
I also loved when she sat on Jonathan Groff's armrest on the way up the aisle! The two of them, best friends in real life, are so adorable together! I was hoping that Jonathan, whom I kept catching glimpses of in the audience, would at least get to present an award, but no such luck.
By the way, Jonathan (whom if you hadn't already guessed is someone I've been crushing on in a major way since his time on Glee) is going to be starring in the revival of the play Deathtrap in London starting in August. It's bad enough that I'm forever longing to go to New York to see all of these shows, but now I'm wishing I could afford a trip to London, too!
Speaking of plays, I really want to see Next Fall! The little bit we got to see from it in the play montage looked pretty good, but it was the banter of the stars, Patrick Heusinger and Patrick Breen, as they described their nominated show that really caught my attention. Honestly, though, I thought all of the plays sounded very good.
I know the award show is already long, of course, but I do wish we could see more from the nominated plays, too. I guess seeing a full scene acted out from each one would be too much to ask for, but it really feels like they get the short end of the stick.
Last year, I really enjoyed Neil Patrick Harris' closing number at the end of the show, so I was hoping for something similar tonight. Instead, they had the cast of Memphis, who'd just won Best Musical, perform again. It just felt like it was all thrown together at the last minute and not really a great way to end the night. Maybe Neil Patrick Harris was just so good last year that he ruined all future Tony Awards for me?
All in all, though, I loved getting my annual taste of Broadway.
I like Sean Hayes and he had a couple of amusing moments tonight while he was hosting the show, but I honestly wasn't very impressed overall by the job he did, especially during his opening monologue. In fairness to Sean, though, I have to say that Neil Patrick Harris, who hosted the Tonys brilliantly last year, is a very tough act to follow.
I had to wonder why they hadn't asked his Promises, Promises co-star, Kristin Chenoweth, to host the show, or at the very least to co-host with Sean. Her bit tonight about not having been nominated was great, as was her appearance at the beginning to make out with Sean and demonstrate that they had plenty of on stage chemistry.
The show opened with a medley of performances from this year's new musicals, which I liked, but there were sound problems which really disappointed me, especially since the same thing happened last year, too, and you'd think that they would have learned from that!
The highlight of the medley for me was Kristen Chenoweth's song from Promises, Promises and the song from American Idiot, followed by a performance from Green Day.
I wasn't really rooting for anyone in particular tonight, so I don't have a lot to say about who won or didn't win, except in one instance: after watching all the performances from the nominated shows, I found myself hoping that American Idiot would win for Best Musical. Then again, I was probably already a bit biased since I've always loved the source material for that show.
Still, of everything I sampled tonight that is probably the show I'd be most likely to see if I had to pick just one.
In addition to loving the performance from American Idiot (and what a trio of hotties the leads are, by the way!) I liked what I saw from the casts of Million Dollar Quartet, La Cage Aux Folles, and Memphis (though there were some sound problems in that last one) and I thought Catherine Zeta Jones' rendition of 'Send in the Clowns' from A Little Night Music was incredibly beautiful.
My education in all things Musical Theater, which began early last year, has continued steadily ever since.While I still have a lot to learn and to experience, I have familiarized myself with most things Sondheim. I really love the original cast album of A Little Night Music and I've been wanting to check out the revival's cast album, with Zeta Jones and the incomparable Angela Lansbury, and tonight just gave me even more reason to do so.
I was just reading yesterday that Bernadette Peters and Elaine Stritch are taking over for Zeta Jones and Lansbury in the show this summer and I'd love to be able to hear their version, too! I haven't really experienced any of Bernadette's work yet, but Company is one of my favorite cast albums thus far and Elaine's 'The Ladies Who Lunch' is my favorite song from that show.
But back to tonight. The performances from Ragtime and Fela were the only two that I just couldn't get that into. That's not to say I thought they were bad, of course. I just didn't really connect with either of them.
What I did connect with were the special performances by Matthew Morrison and Lea Michele. I was a bit disappointed in one sense, I admit: I thought they'd be singing together, when in actuality they gave back to back solo performances.
That's a minor quibble, though, because they were both incredible. Matthew did 'All I Need is the Girl' from Gypsy and not only did he sound amazing, but he was as hot as I've ever seen him, and that's really saying something!
I felt a tiny bit let down when the music for Lea's number began and it was 'Don't Rain on My Parade'. I absolutely loved her rendition of the song on Glee, but my first thought tonight was that she should have sung something we all hadn't heard her do so recently.
That went right out the window, though, when she started singing. Hearing her do the song live, with so much more intensity than she brought to it as her character on Glee, was a totally different experience. She was phenomenal, there is no other word to describe it. What a voice, what a star!
I also loved when she sat on Jonathan Groff's armrest on the way up the aisle! The two of them, best friends in real life, are so adorable together! I was hoping that Jonathan, whom I kept catching glimpses of in the audience, would at least get to present an award, but no such luck.
By the way, Jonathan (whom if you hadn't already guessed is someone I've been crushing on in a major way since his time on Glee) is going to be starring in the revival of the play Deathtrap in London starting in August. It's bad enough that I'm forever longing to go to New York to see all of these shows, but now I'm wishing I could afford a trip to London, too!
Speaking of plays, I really want to see Next Fall! The little bit we got to see from it in the play montage looked pretty good, but it was the banter of the stars, Patrick Heusinger and Patrick Breen, as they described their nominated show that really caught my attention. Honestly, though, I thought all of the plays sounded very good.
I know the award show is already long, of course, but I do wish we could see more from the nominated plays, too. I guess seeing a full scene acted out from each one would be too much to ask for, but it really feels like they get the short end of the stick.
Last year, I really enjoyed Neil Patrick Harris' closing number at the end of the show, so I was hoping for something similar tonight. Instead, they had the cast of Memphis, who'd just won Best Musical, perform again. It just felt like it was all thrown together at the last minute and not really a great way to end the night. Maybe Neil Patrick Harris was just so good last year that he ruined all future Tony Awards for me?
All in all, though, I loved getting my annual taste of Broadway.
Saturday, June 12, 2010
Anticipation
I'm still waiting for my copy of Stephen McCauley's new novel, Insignificant Others, to arrive. Actually, our store's copies were finally delivered yesterday, but just haven't been unpacked yet! I was barely able to restrain myself from tearing through nearly eighty boxes (none of which, sadly, give us any clue as to what titles they contain) before I left work for my weekend.
Also helping to build my anticipation is a review of the book from Queer Reader, a fantastic blog I somehow only recently discovered!
I'm trying to convince myself that waiting these couple days more will just further heighten the experience once I do have the book in my hands. Besides, it's not as if I have nothing else to read in the meantime!
While I'm waiting, I'm living vicariously through the author of one of my favorite blogs, Band of Thebes. He was able to attend a reading by the author in New York the other night. I can only hope McCauley will be in my area at some point in the near future since I'd love to meet the man who has written some of my favorite books.
Also helping to build my anticipation is a review of the book from Queer Reader, a fantastic blog I somehow only recently discovered!
I'm trying to convince myself that waiting these couple days more will just further heighten the experience once I do have the book in my hands. Besides, it's not as if I have nothing else to read in the meantime!
While I'm waiting, I'm living vicariously through the author of one of my favorite blogs, Band of Thebes. He was able to attend a reading by the author in New York the other night. I can only hope McCauley will be in my area at some point in the near future since I'd love to meet the man who has written some of my favorite books.
A New Look
As you may have noticed, I haven't been posting a great deal these past few weeks. It has just been a very busy time for me, I've been getting used to a new job (well, a new position at the same place I already worked) and things have just been a bit hectic.
Hopefully, though, I'll have some time to catch up with things from this point on. I'm once again about a million years behind on As the World Turns, Emmerdale, and just about everything else except for Glee, which I'm already going into withdrawal symptoms over!
Still, this feels like a new beginning of sorts here at Seth in the City, so I decided to celebrate it by changing the look of the place. I love the bookshelf motif! It would probably be more appropriate for a literary blog that was exclusively about books, but I just had to have it.
Hopefully, though, I'll have some time to catch up with things from this point on. I'm once again about a million years behind on As the World Turns, Emmerdale, and just about everything else except for Glee, which I'm already going into withdrawal symptoms over!
Still, this feels like a new beginning of sorts here at Seth in the City, so I decided to celebrate it by changing the look of the place. I love the bookshelf motif! It would probably be more appropriate for a literary blog that was exclusively about books, but I just had to have it.
Friday, June 04, 2010
Quinto Off Broadway
This fall, Zachary Quinto will be starring as Louis in an Off Broadway revival of Angels in America in New York. The Signature Theater Company is doing a whole season dedicated to the works of Tony Kushner.
If I haven't mentioned it before, I think Zachary Quinto is incredibly hot. In fact, the chance to watch him in action was the only reason that I stuck with Heroes right up to the bitter end. Evil had truly never been sexier.
I also love Angels in America, it's a brilliant work of art and, I think, a very important one. I really enjoyed the HBO Mini-series version but I've never been able to see a performance of the play itself, though I have read it.
I'd love to be able to go to New York this fall and fulfill two wishes at once: finally seeing a production of the play, and being in the same room as Zachary Quinto! It would be especially interesting to see him as the sardonic Louis.
Why, oh why, must I be on the opposite side of the country and completely broke?
If I haven't mentioned it before, I think Zachary Quinto is incredibly hot. In fact, the chance to watch him in action was the only reason that I stuck with Heroes right up to the bitter end. Evil had truly never been sexier.
I also love Angels in America, it's a brilliant work of art and, I think, a very important one. I really enjoyed the HBO Mini-series version but I've never been able to see a performance of the play itself, though I have read it.
I'd love to be able to go to New York this fall and fulfill two wishes at once: finally seeing a production of the play, and being in the same room as Zachary Quinto! It would be especially interesting to see him as the sardonic Louis.
Why, oh why, must I be on the opposite side of the country and completely broke?
Sunday, May 30, 2010
Lambda Literary Award Winners
The winners of this year's Lambda Literary Awards have been announced. They make for a great place to start if you're looking for something new in LGBT writing.
Lesbian Fiction: A Field Guide to Deception by Jill Malone
Lesbian Debut Fiction: The Creamsickle by Rhiannon Argo
Gay Fiction: Lake Overturn
Gay Debut Fiction: Blue Boy
LGBT Nonfiction: The Greeks and Greek Love by James Davidson
Lesbian Biography: The Talented Miss Highsmith
Gay Memoir: Ardent Spirits
Transgender: Lynnee Breedlove's One Freak Show
Bisexual Fiction: (tie)
Holy Communion
Love You Two
Bisexual Nonfiction: Leaving India
LGBT Anthology: Portland Queer
LGBT Drama: The Collected Plays of Mart Crowley
LGBT SF/Fantasy/Horror: Palimpsest by Catherynne M. Valente
LGBT Studies: The Straight State: Sexuality and Citizenship in Twentieth-Century America
LGBT YA: Sprout
Lesbian Mystery: Death of a Dying Man
Gay Mystery: What We Remember
Lesbian Romance: The Sublime and Spirited Voyage of Original Sin
Gay Romance: Drama Queers!
Lesbian Poetry: Zero at the Bone
Gay Poetry: Sweet Core Orchard
Lesbian Erotica: Lesbian Cowboys
Gay Erotica: Impossible Princess
There are several books on the list that I want to read, though as usual I'm immersed in slightly older works of gay fiction, most recently the wonderful short story collections of Richard Hall and, at the moment, The Young and Evil, a novel about gay/bohemian life in Greenwich Village in the late 1920's by Charles Henri Ford and Parker Tyler.
The truly astounding thing is that the novel was originally published in 1933 but is incredibly upfront about gay life in that time and place without any attempt at moralizing.
I also recently read two very different books published at the same time and dealing with the same themes and settings: Larry Kramer's Faggots and Andrew Holleran's Dancer From the Dance. I read them back to back and I have to say that I found Holleran's novel to be beautifully written but I really didn't care for Kramer's.
That's not to say that it wasn't well written, but there was such an aura of bitterness surrounding it all, not to mention his sheer delight in reveling in the most seamy aspects of gay life, which left me feeling like I needed to take a shower each time I finished a chapter. Reading such a book would leave anyone feeling like being a gay man was a bleak experience at best.
Lest you think that I'm only reading fiction that's at least twenty five years old, I'm counting down the days until the release of Stephen McCauley's latest novel, Insignificant Others, in June and I was also very excited to notice the other day at work that there is now an October release date for Armistead Maupin's new Tales of the City novel, Mary Ann in Autumn!
Wednesday, May 19, 2010
LuRe Day: Don't Ask, Don't Tell
Today's As the World Turns was a LuRe day, though not an overly eventful one. It began with Luke arriving to visit Noah at the hospital with some lunch and his ipod. Luke asked Noah if there had been any changes with his eyesight, and Noah said that he could still see light and dark, and colors, but that shapes were still mostly blurry.
To give an example, Noah explained that he'd heard Luke and Dr. Oliver arguing in in the hall the other day and had tried to focus on them but that they'd been too blurry. What, Noah wondered, had they been arguing about?
Luke claimed that he couldn't remember, exactly, but said that they'd probably been arguing about Noah since they did that a lot. Noah took Luke's hand and told him that if Luke wanted to worry about him, that was okay with him. Luke was surprised by this, since that had been the last thing Noah wanted before the surgery. Noah explained that he'd realized that this was just who Luke was and part of why he loved him so much.
Luke told Noah that he loved him, too, and Noah asked him to try and stay away from Reid since, as difficult as he could be, he was the reason that Noah was going to be able to see again. Luke agreed to try and at that moment Reid came in the room to examine Noah.
Luke pulled his hand away from Noah's and stood up pretty quickly, but the clasped hands hadn't been missed by Dr. Oliver. Reid gave Noah's eyes a cursory look before saying that he'd come back later to do a more thorough exam. There was definitely an intense vibe between Luke and Reid which Noah picked up on but completely misread. He asked Luke to go after Dr. Oliver and apologize to him for their argument, for Noah's sake.
The contrast between Nuke and LuRe is pretty telling when they all share a scene together like this. Luke and Noah have a very warm vibe between them, they clearly care for each other, but you'd have to be as blind as Noah was not to notice the off the charts chemistry between Luke and Reid the minute they're in the same room together. You can almost literally feel them wanting to be together the second they're in each other's presence.
Luke wasted no time in following Reid out of the room and telling him that he couldn't do this anymore, that he hated lying to Noah. Reid suggested he not lie to him, then, but Luke said that he already had and explained that Noah had seen them in the hallway the other day.
To give an example, Noah explained that he'd heard Luke and Dr. Oliver arguing in in the hall the other day and had tried to focus on them but that they'd been too blurry. What, Noah wondered, had they been arguing about?
Luke claimed that he couldn't remember, exactly, but said that they'd probably been arguing about Noah since they did that a lot. Noah took Luke's hand and told him that if Luke wanted to worry about him, that was okay with him. Luke was surprised by this, since that had been the last thing Noah wanted before the surgery. Noah explained that he'd realized that this was just who Luke was and part of why he loved him so much.
Luke told Noah that he loved him, too, and Noah asked him to try and stay away from Reid since, as difficult as he could be, he was the reason that Noah was going to be able to see again. Luke agreed to try and at that moment Reid came in the room to examine Noah.
Luke pulled his hand away from Noah's and stood up pretty quickly, but the clasped hands hadn't been missed by Dr. Oliver. Reid gave Noah's eyes a cursory look before saying that he'd come back later to do a more thorough exam. There was definitely an intense vibe between Luke and Reid which Noah picked up on but completely misread. He asked Luke to go after Dr. Oliver and apologize to him for their argument, for Noah's sake.
The contrast between Nuke and LuRe is pretty telling when they all share a scene together like this. Luke and Noah have a very warm vibe between them, they clearly care for each other, but you'd have to be as blind as Noah was not to notice the off the charts chemistry between Luke and Reid the minute they're in the same room together. You can almost literally feel them wanting to be together the second they're in each other's presence.
Luke wasted no time in following Reid out of the room and telling him that he couldn't do this anymore, that he hated lying to Noah. Reid suggested he not lie to him, then, but Luke said that he already had and explained that Noah had seen them in the hallway the other day.
Luke: If his vision had been any clearer, he would have seen that we're-
Reid: That we're really hot for each other?
Luke: That's not funny.
Reid: You'll know when I'm trying to be funny.
Reid: That we're really hot for each other?
Luke: That's not funny.
Reid: You'll know when I'm trying to be funny.
Luke said that he had to tell Noah about the two of them, but Reid wondered what, exactly, Luke was going to tell him? Luke himself wasn't even sure, but said that he and Noah didn't keep secrets from each other.
Reid suggested that Luke think about someone other than himself and sarcastically pointed out that telling Noah that they'd kissed a couple of times and almost had sex the very day of Noah's surgery was really going to make him feel better. That way, Noah could push both Luke and the doctor helping him get his sight back away, but then what did Noah's vision matter compared to Luke's 'confused little feelings'?
Reid is clearly quite frustrated with the fact that Luke is sitting on the fence about all of this. Then again, when does Reid need a reason to be sarcastic and snarky?
Luke said that he had to be honest with Noah, and Reid demanded to know what it was about illness that made people feel like it was the time when they had to confess their secrets to that person? What Luke needed to do was to be there for Noah and help him deal, Reid said, even if that meant lying his butt off.
Noah, meanwhile, was having a chat with Ali about his relationship with Luke and acknowledging that it was all his fault for pushing Luke away. While Luke may understand why he did it, that's not the same as forgiving him for it, Noah explained. Ali made a comparison to her failed relationship with Casey and said that they were trying to be friends again now, which left Noah declaring that he didn't want to be 'just friends' with Luke.
Later, Reid returned to finish his exam of Noah and when he was done Luke came in and asked if Noah was well enough to go outside. Reid said he didn't think so, but Luke promised that it would be just for a few minutes and that he wouldn't leave Noah's side.
Reid returned home to brood over the situation, looking incredibly sexy while doing so, and Katy tried to take his mind off things by asking him to come with her to the park to get some fresh air. Reid refused, saying that he wasn't fond of air, and Katy left him alone with his thoughts.
Meanwhile, at the park, Noah was raving about being able to see colors again and finally having something positive in his life. Luke was distracted by his own thoughts, and Noah noted that this was a perfect time for him and Luke to really talk to each other. Noah told Luke that he could tell him anything and Luke looked incredibly torn.
As I said, there wasn't a great deal going on in the story today. Luke is still not fully facing up to the way his feelings have changed and what that means for him and Noah, while Reid has fallen pretty hard for Luke but is growing frustrated over the mixed messages he's getting from him.
I really like that they're taking some time to show what each of these three characters are feeling. I just hope that they don't drag this whole "We can't tell Noah until his eyes are better" angle out too long.
Reid suggested that Luke think about someone other than himself and sarcastically pointed out that telling Noah that they'd kissed a couple of times and almost had sex the very day of Noah's surgery was really going to make him feel better. That way, Noah could push both Luke and the doctor helping him get his sight back away, but then what did Noah's vision matter compared to Luke's 'confused little feelings'?
Reid is clearly quite frustrated with the fact that Luke is sitting on the fence about all of this. Then again, when does Reid need a reason to be sarcastic and snarky?
Luke said that he had to be honest with Noah, and Reid demanded to know what it was about illness that made people feel like it was the time when they had to confess their secrets to that person? What Luke needed to do was to be there for Noah and help him deal, Reid said, even if that meant lying his butt off.
Noah, meanwhile, was having a chat with Ali about his relationship with Luke and acknowledging that it was all his fault for pushing Luke away. While Luke may understand why he did it, that's not the same as forgiving him for it, Noah explained. Ali made a comparison to her failed relationship with Casey and said that they were trying to be friends again now, which left Noah declaring that he didn't want to be 'just friends' with Luke.
Later, Reid returned to finish his exam of Noah and when he was done Luke came in and asked if Noah was well enough to go outside. Reid said he didn't think so, but Luke promised that it would be just for a few minutes and that he wouldn't leave Noah's side.
Reid returned home to brood over the situation, looking incredibly sexy while doing so, and Katy tried to take his mind off things by asking him to come with her to the park to get some fresh air. Reid refused, saying that he wasn't fond of air, and Katy left him alone with his thoughts.
Meanwhile, at the park, Noah was raving about being able to see colors again and finally having something positive in his life. Luke was distracted by his own thoughts, and Noah noted that this was a perfect time for him and Luke to really talk to each other. Noah told Luke that he could tell him anything and Luke looked incredibly torn.
As I said, there wasn't a great deal going on in the story today. Luke is still not fully facing up to the way his feelings have changed and what that means for him and Noah, while Reid has fallen pretty hard for Luke but is growing frustrated over the mixed messages he's getting from him.
I really like that they're taking some time to show what each of these three characters are feeling. I just hope that they don't drag this whole "We can't tell Noah until his eyes are better" angle out too long.
Sunday, May 16, 2010
Aaron's Story: The Truth Shall Set You Free
Aaron's story on the British soap Emmerdale continues to pack an emotional punch and I'm loving every second of it. When I last wrote about Aaron, he'd returned home from the hospital and was being watched every moment of the day by his mother and Paddy, but his friendship with Adam had grown stronger than ever.
Aaron tenuously started to resume his daily life after a walk with his dog lead him by the garage and he was invited in for a drink by Cain. I loved the way Danny Miller played this particular scene, the hesitation on Aaron's part to enter the place where he'd tried to kill himself and also the underlying fear that he was going to be treated differently by his co-workers. His relief when Cain treated him exactly as he always had was almost palpable and by the end of the visit Aaron had agreed to return to work the next day.
There was still the not so little matter of the charges pending against Aaron for assaulting Jackson, though. Aaron himself seemed resigned to whatever punishment came his way and even refused to go with Paddy to meet with his solicitor.
Paddy returned with the news that Aaron was looking at six months in prison because his attack on Jackson was being viewed as a hate crime. If, however, Aaron told the court the truth about himself and what he was going through, he'd likely only get community service.
Paddy and Chastity both begged Aaron to admit the truth, but Aaron remained adamant that he was going to stay silent and take his punishment. When Aaron wouldn't listen to them, a desperate Paddy went to see Adam to fill him in and ask his help in convincing Aaron to open up about his sexuality to avoid time in prison.
Adam tracked down Jackson on a work site to ask him to withdraw his statement against Aaron, but Jackson refused. He softened a bit, though, when Adam revealed that Aaron had attempted to kill himself. Against his better judgement, he even let Adam talk him into going with him to see Aaron.
It wasn't exactly a harmonious meeting. Jackson told Aaron that things weren't all right between them, but that he didn't want to see Aaron go to prison.
Jackson decided he'd had enough at this point, and when Adam tried to keep him from leaving he said that if Aaron would rather go to prison than admit to being gay, he deserved what he got.
Adam sadly told Aaron that he'd just realized the truth: Aaron wanted to be punished because he couldn't handle what he was, and the saddest thing was that he was going to get his wish now that he'd thrown away his last chance.
After Adam left, Aaron silently buried his face in his hands.
In the days that followed, Paddy and Chastity kept trying to convince Aaron to tell the truth and save himself while Aaron alternated between pushing them away and readying himself for his prison sentence.
Aaron told everyone that he didn't want them coming to court with him, so when the morning came he said his farewells to his assembled family at Paddy's place and departed in a taxi.
He'd convinced himself that he was strong enough to survive in prison, but had his eyes opened before he even got in the taxi when his Aunt Lisa (who recently did some prison time herself) told him that they weren't going to allow him to take his ipod in with him, since it could be used as a weapon, and that even if they did let him, someone would steal if from him within minutes. Aaron tried to play the tough guy and said that no one would be messing with him, but his Uncle Zak advised him that he had to keep his head down and not draw any attention to himself if he wanted to make it through this.
Paddy put an end to the prison talk, reminding them all that he'd not even been sentenced yet. As Aaron was getting in the car, he noticed Adam watching sadly nearby and the two shared a nod. Once in the Taxi, the brave face Aaron had been putting on dissolved as tears began to spill down his cheeks. I have to say that Danny Miller cries better than any actor I've ever seen. You'd think with all his tears lately I'd be used to it, but every time he cries he manages to make it seem so raw and emotional that it feels like a punch to the stomach. You just want to wrap your arms around him, not that Aaron would ever let you, and tell him everything is going to be okay!
At the courthouse, Aaron's solicitor (and here's a nice little tie in to gay characters past, by the way: the solicitor was played by Scott Neal, the actor who played Ste in my very favorite gay themed movie, Beautiful Thing!) made one last attempt to get Aaron to see sense about his plea, but Aaron was still set on remaining silent.
Aaron looked so small and alone as he ascended into the dock to face the magistrate. Before the hearing actually began, though, Chastity called out Aaron's name and he turned to find Paddy, Chastity, Cain, Zak, Lisa, and Adam all there for him, in spite of his insistence that no one come. Instead of being angry, his eyes filled with tears and he nodded gratefully at them all. I loved how Danny Miller was able to convey, without saying a word, that their presence meant everything to Aaron!
The charges were read and Aaron was asked for his plea. Before he could answer, the door opened and Jackson walked in and took a seat up in the gallery, behind Aaron's family. The two of them shared a long look before Aaron plead guilty.
The prosecutor (or whatever they're called in the British court system) laid out the case that Aaron had targeted and attacked Jackson simply for being gay. Paddy and Chastity both had little outbursts up in the gallery (which the magistrate didn't seem to mind too much, merely shooting them a rather withering look; in an American court there would surely have been a lot of gavel banging and threats of contempt!) urging Aaron and/or Jackson to speak up.
They both remained quiet, though. The magistrate told Aaron that this was a clear cut case of a homophobic attack and that such a thing could not be tolerated. Aaron, his eyes red with tears, mumbled that it wasn't like that, and the magistrate ordered him to speak up if there was something he wanted to say.
Needless to say, this was an intense moment for Aaron and I can't stress how beautifully done these scenes were. How many ways can I possibly find to say that Danny Miller is incredibly talented? There surely aren't enough words in the English language. Please, watch these scenes here if you haven't already!
Up in the gallery, Paddy, Chastity, and Adam all looked incredibly relieved and proud of Aaron, while Zak and Lisa looked dumbfounded by this piece of news. The magistrate asked Aaron to continue.
Aaron tenuously started to resume his daily life after a walk with his dog lead him by the garage and he was invited in for a drink by Cain. I loved the way Danny Miller played this particular scene, the hesitation on Aaron's part to enter the place where he'd tried to kill himself and also the underlying fear that he was going to be treated differently by his co-workers. His relief when Cain treated him exactly as he always had was almost palpable and by the end of the visit Aaron had agreed to return to work the next day.
There was still the not so little matter of the charges pending against Aaron for assaulting Jackson, though. Aaron himself seemed resigned to whatever punishment came his way and even refused to go with Paddy to meet with his solicitor.
Paddy returned with the news that Aaron was looking at six months in prison because his attack on Jackson was being viewed as a hate crime. If, however, Aaron told the court the truth about himself and what he was going through, he'd likely only get community service.
Paddy and Chastity both begged Aaron to admit the truth, but Aaron remained adamant that he was going to stay silent and take his punishment. When Aaron wouldn't listen to them, a desperate Paddy went to see Adam to fill him in and ask his help in convincing Aaron to open up about his sexuality to avoid time in prison.
Adam tracked down Jackson on a work site to ask him to withdraw his statement against Aaron, but Jackson refused. He softened a bit, though, when Adam revealed that Aaron had attempted to kill himself. Against his better judgement, he even let Adam talk him into going with him to see Aaron.
It wasn't exactly a harmonious meeting. Jackson told Aaron that things weren't all right between them, but that he didn't want to see Aaron go to prison.
Aaron: Oh, so why did you go to the police and tell them what I did?
Jackson: Well, you decked me so what did you expect?
Aaron: Well why didn't you tell them the rest of the truth then?
Jackson: You know why!
Aaron: What, because you wanted to get me done for gay bashing?
Jackson: I never wanted to out you! I mean, I wish I had now. If there's a way out of this, you've got to take it.
Aaron: Yeah, well, I can't.
Jackson: Why not?
Aaron: Do you want me to spell it out for you?
Jackson: Look, I'm trying to help!
Aaron: And I don't need your help!
Jackson: Well, you decked me so what did you expect?
Aaron: Well why didn't you tell them the rest of the truth then?
Jackson: You know why!
Aaron: What, because you wanted to get me done for gay bashing?
Jackson: I never wanted to out you! I mean, I wish I had now. If there's a way out of this, you've got to take it.
Aaron: Yeah, well, I can't.
Jackson: Why not?
Aaron: Do you want me to spell it out for you?
Jackson: Look, I'm trying to help!
Aaron: And I don't need your help!
Jackson decided he'd had enough at this point, and when Adam tried to keep him from leaving he said that if Aaron would rather go to prison than admit to being gay, he deserved what he got.
Adam sadly told Aaron that he'd just realized the truth: Aaron wanted to be punished because he couldn't handle what he was, and the saddest thing was that he was going to get his wish now that he'd thrown away his last chance.
After Adam left, Aaron silently buried his face in his hands.
In the days that followed, Paddy and Chastity kept trying to convince Aaron to tell the truth and save himself while Aaron alternated between pushing them away and readying himself for his prison sentence.
Aaron told everyone that he didn't want them coming to court with him, so when the morning came he said his farewells to his assembled family at Paddy's place and departed in a taxi.
He'd convinced himself that he was strong enough to survive in prison, but had his eyes opened before he even got in the taxi when his Aunt Lisa (who recently did some prison time herself) told him that they weren't going to allow him to take his ipod in with him, since it could be used as a weapon, and that even if they did let him, someone would steal if from him within minutes. Aaron tried to play the tough guy and said that no one would be messing with him, but his Uncle Zak advised him that he had to keep his head down and not draw any attention to himself if he wanted to make it through this.
Paddy put an end to the prison talk, reminding them all that he'd not even been sentenced yet. As Aaron was getting in the car, he noticed Adam watching sadly nearby and the two shared a nod. Once in the Taxi, the brave face Aaron had been putting on dissolved as tears began to spill down his cheeks. I have to say that Danny Miller cries better than any actor I've ever seen. You'd think with all his tears lately I'd be used to it, but every time he cries he manages to make it seem so raw and emotional that it feels like a punch to the stomach. You just want to wrap your arms around him, not that Aaron would ever let you, and tell him everything is going to be okay!
At the courthouse, Aaron's solicitor (and here's a nice little tie in to gay characters past, by the way: the solicitor was played by Scott Neal, the actor who played Ste in my very favorite gay themed movie, Beautiful Thing!) made one last attempt to get Aaron to see sense about his plea, but Aaron was still set on remaining silent.
Aaron looked so small and alone as he ascended into the dock to face the magistrate. Before the hearing actually began, though, Chastity called out Aaron's name and he turned to find Paddy, Chastity, Cain, Zak, Lisa, and Adam all there for him, in spite of his insistence that no one come. Instead of being angry, his eyes filled with tears and he nodded gratefully at them all. I loved how Danny Miller was able to convey, without saying a word, that their presence meant everything to Aaron!
The charges were read and Aaron was asked for his plea. Before he could answer, the door opened and Jackson walked in and took a seat up in the gallery, behind Aaron's family. The two of them shared a long look before Aaron plead guilty.
The prosecutor (or whatever they're called in the British court system) laid out the case that Aaron had targeted and attacked Jackson simply for being gay. Paddy and Chastity both had little outbursts up in the gallery (which the magistrate didn't seem to mind too much, merely shooting them a rather withering look; in an American court there would surely have been a lot of gavel banging and threats of contempt!) urging Aaron and/or Jackson to speak up.
They both remained quiet, though. The magistrate told Aaron that this was a clear cut case of a homophobic attack and that such a thing could not be tolerated. Aaron, his eyes red with tears, mumbled that it wasn't like that, and the magistrate ordered him to speak up if there was something he wanted to say.
Aaron: I can't. I can't say it. (Aaron turns to look at Jackson). I didn't target him. He came to see me.
Aaron's solicitor requested a recess called so that he could discuss all of this with Aaron before he spoke any further, but Aaron stopped him, saying that he'd already messed his life up this badly, so he might as well finish the job.
Aaron: He came to see me because he thought we were mates. He was in the pub, with my friends and my family, it just freaked me out. I needed to shut him up, so I hit him. But it wasn't like what you said. It wasn't because of what he was. Or what he is. I swear I didn't do it because he's gay.
I did it because I am.
I'm gay.
Aaron: He came to see me because he thought we were mates. He was in the pub, with my friends and my family, it just freaked me out. I needed to shut him up, so I hit him. But it wasn't like what you said. It wasn't because of what he was. Or what he is. I swear I didn't do it because he's gay.
I did it because I am.
I'm gay.
Needless to say, this was an intense moment for Aaron and I can't stress how beautifully done these scenes were. How many ways can I possibly find to say that Danny Miller is incredibly talented? There surely aren't enough words in the English language. Please, watch these scenes here if you haven't already!
Up in the gallery, Paddy, Chastity, and Adam all looked incredibly relieved and proud of Aaron, while Zak and Lisa looked dumbfounded by this piece of news. The magistrate asked Aaron to continue.
Aaron (crying): I didn't want to hurt him. I just... I just thought that he was gonna blurt it out. I thought that's what they did. They made you tell everyone, and if you didn't then they'd do it for you. But he was different. He was all right. I wanted to see him. But then when I did, I couldn't handle it. What I was thinking. About him. About me. I hit him. And I'm sorry.
The magistrate called for a ten minute recess. Out in the hall, Zak and Lisa questioned Cain about how long he'd known, while Chastity told Aaron how proud they were of him. Aaron, though, was wondering what his Uncle Cain and Uncle Zak were thinking about him. Paddy, meanwhile, had gone to look for Jackson but came back to report to Aaron that he'd gone. Aaron's solicitor warned him and Chastity that Aaron's last minute confession may have been too little, too late as far as sentencing was concerned.
Back in court, the Magistrate told Aaron that the attack was clearly a violent one, but that his genuine remorse and his admission, which had taken strength and courage, had convinced her that a prison sentence was not in his best interest. She sentenced him to 150 hours of community service instead.
The entire clan returned to Paddy's, but Aaron remained outside with Adam, not wanting to face a family gathering after his very public coming out. Inside, Zak was trying to make some sense of the news and asked Paddy if Aaron dating Holly had been all for show.
Paddy told Zak that Aaron had been trying to work things out in his head then and Zak said the boy must have had some idea, since you don't go 'that way' over night. Paddy told him that Aaron had been fighting his sexuality for years.
Lisa asked if Jackson was Aaron's boyfriend and Chastity chimed in, telling them all that Aaron hadn't had a boyfriend yet. Zak took this as evidence that Aaron couldn't know if he was really gay, then, because not having tried it he might find that he didn't like it!
Cain asked Zak if he'd ever looked at another guy and fancied him and when Zak told him to watch his mouth, Cain said that they could bet that Aaron had. This seemed to get through to Zak, at least a bit. Cain told Paddy to tell Aaron that he was expecting him at work the next day as usual. One thing they all agreed on: they'd protect their own, no matter what.
Adam and Aaron, meanwhile, had gone for a walk and Adam asked what had changed his mind about telling the truth. Was it Jackson? Aaron admitted that maybe it was, but also noted that Jackson hadn't stuck around afterward. He told Adam that he'd texted him to apologize and say that it would be cool if he wanted to go for a drink sometime.
Aaron said that he thought Jackson had only shown up to make sure he'd gone to prison, though, and Adam told him to get over Jackson and move on if that was the case.
Aaron admitted that he was worried that everyone was going to be acting differently towards him now.
With that, Adam put his arm around Aaron and they walked off together. Can I just say, once again, how much I love the friendship between these two? It's really something special. I'm still trying to find good screencaps of the two of them together. This one is from last winter.
The next day, Aaron called in sick to work and spent the day lying on the sofa, staring into space while all around the village, people were discussing the banner front page headline to be found above a large photo of Aaron in the local paper: 'Hoodie Comes Out Of the Closet'.
At the garage, Ryan was trying to get his head around the fact that Aaron was gay, but really only seemed surprised, not truly bothered by it. When Chastity came by and showed them the paper, Ryan assured her that he and Cain were both 'cool with it'.
Chastity took the paper to Paddy's, where against Paddy's wishes she showed it to Aaron, feeling that he had to know what everyone was reading. Aaron was far from pleased, but a bit later, after he'd had a shower, he came back down and told Paddy and Chastity that he was going back to work the next day. He seemed much more at peace with himself than he's been in a very long time.
Back in court, the Magistrate told Aaron that the attack was clearly a violent one, but that his genuine remorse and his admission, which had taken strength and courage, had convinced her that a prison sentence was not in his best interest. She sentenced him to 150 hours of community service instead.
The entire clan returned to Paddy's, but Aaron remained outside with Adam, not wanting to face a family gathering after his very public coming out. Inside, Zak was trying to make some sense of the news and asked Paddy if Aaron dating Holly had been all for show.
Paddy told Zak that Aaron had been trying to work things out in his head then and Zak said the boy must have had some idea, since you don't go 'that way' over night. Paddy told him that Aaron had been fighting his sexuality for years.
Lisa asked if Jackson was Aaron's boyfriend and Chastity chimed in, telling them all that Aaron hadn't had a boyfriend yet. Zak took this as evidence that Aaron couldn't know if he was really gay, then, because not having tried it he might find that he didn't like it!
Cain asked Zak if he'd ever looked at another guy and fancied him and when Zak told him to watch his mouth, Cain said that they could bet that Aaron had. This seemed to get through to Zak, at least a bit. Cain told Paddy to tell Aaron that he was expecting him at work the next day as usual. One thing they all agreed on: they'd protect their own, no matter what.
Adam and Aaron, meanwhile, had gone for a walk and Adam asked what had changed his mind about telling the truth. Was it Jackson? Aaron admitted that maybe it was, but also noted that Jackson hadn't stuck around afterward. He told Adam that he'd texted him to apologize and say that it would be cool if he wanted to go for a drink sometime.
Aaron said that he thought Jackson had only shown up to make sure he'd gone to prison, though, and Adam told him to get over Jackson and move on if that was the case.
Aaron admitted that he was worried that everyone was going to be acting differently towards him now.
Aaron: I just hate people knowing.
Adam: Well, they do, so get over it! Look, mate, I'm not going to lie to you. It's big news now. But it's not going to be for long, all right? At least it's over now. You've done it.
Aaron: And what if I've made the biggest mistake of my life?
Adam: Come on.
Adam: Well, they do, so get over it! Look, mate, I'm not going to lie to you. It's big news now. But it's not going to be for long, all right? At least it's over now. You've done it.
Aaron: And what if I've made the biggest mistake of my life?
Adam: Come on.
With that, Adam put his arm around Aaron and they walked off together. Can I just say, once again, how much I love the friendship between these two? It's really something special. I'm still trying to find good screencaps of the two of them together. This one is from last winter.
The next day, Aaron called in sick to work and spent the day lying on the sofa, staring into space while all around the village, people were discussing the banner front page headline to be found above a large photo of Aaron in the local paper: 'Hoodie Comes Out Of the Closet'.
At the garage, Ryan was trying to get his head around the fact that Aaron was gay, but really only seemed surprised, not truly bothered by it. When Chastity came by and showed them the paper, Ryan assured her that he and Cain were both 'cool with it'.
Chastity took the paper to Paddy's, where against Paddy's wishes she showed it to Aaron, feeling that he had to know what everyone was reading. Aaron was far from pleased, but a bit later, after he'd had a shower, he came back down and told Paddy and Chastity that he was going back to work the next day. He seemed much more at peace with himself than he's been in a very long time.
Aaron: It's out of my hands. I can't change anything. This is the way its got to be from now on, whether I like it or not.
Well, Aaron is officially out. I think he's got a long way to go before he's truly okay with who he is, of course. Will he find someone special to help him with that? I for one can't wait to find out.
Friday, May 14, 2010
LuRe: Five in One
For the past two weeks, fate seemed to be conspiring to keep me from getting my LuRe fix, but I've finally managed to catch up with five episodes worth of Luke & Reid scenes on As the World Turns.
The first episode found the big day finally arriving- it was time for Noah's surgery. Luke showed up at the hospital for moral support and brought along Noah's video camera to document the momentous occasion. The two guys had a kind of sweet moment together on Noah's hospital bed before Reid walked in.When the nurse and Reid were taking Noah off for the operation, Luke asked Reid to take care of his ex and Dr. Oliver, clearly nonplussed by the closeness between Luke & Noah, snapped that this was what Luke had dragged him here for, wasn't it?
Luke & Katie chatted in the waiting room and Katie said that she thought that Reid liked living in Oakdale- and liked Luke- more than he'd let on. Luke mentioned Reid being rude to him again earlier and said that he thought the doctor had just been grateful for his help but that it had passed. Katie pointed out the obvious connection between Reid's rudeness and him having just seen Luke with Noah and said that she thought her roommate had become a bit more human lately and they both knew why that was.
Luke claimed to believe that living with Katie and baby Jacob had been what humanized Reid, and also suggested that working with Bob Hughes had probably helped, too. Katie thought that it would take more than friends and a cute baby to change someone like Reid, but Luke asked her to stop with the matchmaking while Noah was in surgery, saying that even though they weren't together he still loved Noah and wanted him to get his sight back.
In the operating room, Noah's blood pressure was high, but Reid got him to relax by telling him to think of all the things he'd see when he woke up. Noah noted that he'd finally get to see what Reid looked like and Reid joked about having a comb over, buck teeth and a potbelly.
Once Noah was under, he started dreaming about directing a film starring Luke and was zooming in for a close up on Luke's smiling face while he started to flat line.
Reid sought Luke out in the waiting room and broke the news that there had been some damage that hadn't shown up on the CAT scans or MRI, and that there had been complications. Luke asked if Noah was going to be all right, and Reid told him that there could be some brain damage and that they wouldn't know the extent of it until Noah woke up. Luke didn't take the news very well, and when Reid started talking about there always having been risks involved with the operation, Luke went off on him about his earlier arrogance about being the only one who could perform the surgery.
Reid countered that both Noah and 'Mr. Snyder' had been fully aware of the risks and Luke did not react well to Reid reverting to the old form of address between them.
Seeing such a passionate outburst from Luke was strangely hot, but it was tempered by seeing Reid's reaction. Eric Sheffer Stevens did a great job of using body language to convey the fact that Reid was very upset by what had happened and was falling back on his arrogance to cover it up. Reid was throwing the wall back up between him and Luke because he felt like he'd let Luke and Noah down.
Bob Hughes found Reid going over Noah's MRI results again, wondering how he'd missed something so important. Bob told Reid that he'd taken his responsibility to Noah seriously and that what had happened wasn't his fault. Reid continued to obsess over Noah's case, so Bob ordered him to leave the hospital and get some rest since Noah wouldn't be conscious for awhile.
Luke, meanwhile, sent Holden and Lily home, promising that he'd call them as soon as he knew anything. He then went to see Bob Hughes, who suggested he go home and get some rest and mentioned that he'd ordered Reid to do the same.
Bob reminded Luke that the surgery was what both he and Noah had wanted and that he shouldn't question that decision now. Luke rather bitterly noted that he'd trusted Dr. Oliver and his judgement and then stormed out of Bob's office and headed straight for Reid's place, where the good doctor answered the door shirtless (pics borrowed from Superherofan).
Luke demanded to know how Reid could have left Noah, asking if he even cared if his patient died. Reid told Luke that he'd been ordered out by his Chief of Staff and Luke wanted to know when Reid had started obeying anyone else's orders.
After all, he was the Great Doctor Oliver, and he never failed, unless he wanted to.
The look of hurt on Reid's face was pretty intense. I thought Eric Sheffer Stevens really did a great job here.
Reid: Did I.. you're asking if..
Luke: Just answer the question!
Reid: Answer what? You want to know if I deliberately tried to harm your boyfriend while I was operating on him?
Luke: That's just it. Even though Noah and I are broken up and have been for awhile, you can't stand the fact that I still have feelings for him. You were so angry wen you saw him with his arm around me before the surgery.
Reid: What are you talking about?
Luke: You can't stand the fact that I haven't fallen at your feet. You don't understand it because you get whatever you want, whenever you want, and the fact that you haven't gotten me is driving you insane!
Reid: The only person insane in this room is you.
Luke tearfully accused Reid of having feelings for him that he'd let affect the outcome of the surgery.
What amazing scenes. Seeing Van Hansis take Luke from lashing out in anger to being on the brink of breaking down in tears and guilt for his part in Noah having the surgery, to finally facing up to his feelings for Reid, reminded me all over again of what an incredible actor he is. I think that working with Eric Sheffer Stevens just pushes him to be even greater. These are two truly talented guys, and these scenes would win them both Emmys if there was any justice in the world.
When the scenes picked up where they'd left off the next day, Reid began unbuttoning Luke's shirt while they kissed. Luke pulled back, wondering what the hell they were doing and reminding Reid that Noah was in a hospital bed. Luke though that they shouldn't have done any of this.
Reid asked Luke to at least admit that this was true, but Luke said even if it was, Noah had to be a priority now for both of them. Reid pointed out that they'd been about to have sex, not move out of the state. If there was a change in Noah's condition, they'd both be there.
Luke said they couldn't be there for Noah if something happened that they couldn't take back. Reid reminded Luke that Noah had pushed him away and been unwilling to give him what he needed. He told Luke not to beat himself up for wanting to move on, but Luke replied that he couldn't do this and walked out the door.
Later, at the hospital, Luke sat with Noah and told him that he just wanted him to wake up so that he could do everything he wanted to do with his life. Reid came in to examine Noah and Luke tried to talk to him about what had happened between them earlier. Reid said they didn't have to talk about it, but Luke had to apologize for what he'd said about Reid wanting to hurt Noah.
Luke: I know that you'd never do anything to hurt Noah, no matter what your feelings were.
Reid: You're not all that, Mr. Snyder.
Luke: No, I guess I'm not. He was the first person I was ever in love with.
Reid: One's not such a low number.
Luke: I never thought I'd be with anyone except him.
Reid: That explains a lot.
Luke: So, yeah, about earlier-
Reid: You don't have to say anything about it. I get it Luke.
The first episode found the big day finally arriving- it was time for Noah's surgery. Luke showed up at the hospital for moral support and brought along Noah's video camera to document the momentous occasion. The two guys had a kind of sweet moment together on Noah's hospital bed before Reid walked in.When the nurse and Reid were taking Noah off for the operation, Luke asked Reid to take care of his ex and Dr. Oliver, clearly nonplussed by the closeness between Luke & Noah, snapped that this was what Luke had dragged him here for, wasn't it?
Luke & Katie chatted in the waiting room and Katie said that she thought that Reid liked living in Oakdale- and liked Luke- more than he'd let on. Luke mentioned Reid being rude to him again earlier and said that he thought the doctor had just been grateful for his help but that it had passed. Katie pointed out the obvious connection between Reid's rudeness and him having just seen Luke with Noah and said that she thought her roommate had become a bit more human lately and they both knew why that was.
Luke claimed to believe that living with Katie and baby Jacob had been what humanized Reid, and also suggested that working with Bob Hughes had probably helped, too. Katie thought that it would take more than friends and a cute baby to change someone like Reid, but Luke asked her to stop with the matchmaking while Noah was in surgery, saying that even though they weren't together he still loved Noah and wanted him to get his sight back.
In the operating room, Noah's blood pressure was high, but Reid got him to relax by telling him to think of all the things he'd see when he woke up. Noah noted that he'd finally get to see what Reid looked like and Reid joked about having a comb over, buck teeth and a potbelly.
Once Noah was under, he started dreaming about directing a film starring Luke and was zooming in for a close up on Luke's smiling face while he started to flat line.
Reid sought Luke out in the waiting room and broke the news that there had been some damage that hadn't shown up on the CAT scans or MRI, and that there had been complications. Luke asked if Noah was going to be all right, and Reid told him that there could be some brain damage and that they wouldn't know the extent of it until Noah woke up. Luke didn't take the news very well, and when Reid started talking about there always having been risks involved with the operation, Luke went off on him about his earlier arrogance about being the only one who could perform the surgery.
Reid countered that both Noah and 'Mr. Snyder' had been fully aware of the risks and Luke did not react well to Reid reverting to the old form of address between them.
Luke: Mr. Snyder. Really? After all of this, I want you to talk to me like a human being and I want you to talk to me like someone who gives a crap about what happens to Noah you selfish son of a bitch! What have you done?
Seeing such a passionate outburst from Luke was strangely hot, but it was tempered by seeing Reid's reaction. Eric Sheffer Stevens did a great job of using body language to convey the fact that Reid was very upset by what had happened and was falling back on his arrogance to cover it up. Reid was throwing the wall back up between him and Luke because he felt like he'd let Luke and Noah down.
Bob Hughes found Reid going over Noah's MRI results again, wondering how he'd missed something so important. Bob told Reid that he'd taken his responsibility to Noah seriously and that what had happened wasn't his fault. Reid continued to obsess over Noah's case, so Bob ordered him to leave the hospital and get some rest since Noah wouldn't be conscious for awhile.
Luke, meanwhile, sent Holden and Lily home, promising that he'd call them as soon as he knew anything. He then went to see Bob Hughes, who suggested he go home and get some rest and mentioned that he'd ordered Reid to do the same.
Bob reminded Luke that the surgery was what both he and Noah had wanted and that he shouldn't question that decision now. Luke rather bitterly noted that he'd trusted Dr. Oliver and his judgement and then stormed out of Bob's office and headed straight for Reid's place, where the good doctor answered the door shirtless (pics borrowed from Superherofan).
Luke demanded to know how Reid could have left Noah, asking if he even cared if his patient died. Reid told Luke that he'd been ordered out by his Chief of Staff and Luke wanted to know when Reid had started obeying anyone else's orders.
After all, he was the Great Doctor Oliver, and he never failed, unless he wanted to.
Reid: Excuse me?
Luke: Just tell me the truth. Did you do this to Noah on purpose?
Luke: Just tell me the truth. Did you do this to Noah on purpose?
The look of hurt on Reid's face was pretty intense. I thought Eric Sheffer Stevens really did a great job here.
Reid: Did I.. you're asking if..
Luke: Just answer the question!
Reid: Answer what? You want to know if I deliberately tried to harm your boyfriend while I was operating on him?
Luke: That's just it. Even though Noah and I are broken up and have been for awhile, you can't stand the fact that I still have feelings for him. You were so angry wen you saw him with his arm around me before the surgery.
Reid: What are you talking about?
Luke: You can't stand the fact that I haven't fallen at your feet. You don't understand it because you get whatever you want, whenever you want, and the fact that you haven't gotten me is driving you insane!
Reid: The only person insane in this room is you.
Luke tearfully accused Reid of having feelings for him that he'd let affect the outcome of the surgery.
Reid: After all the time that you've spent with me, the care that I've given to the man that you told me you loved, whether you're with him or not, you really think I have an investment in seeing him harmed? Or dead? That's who you think I am?
Luke (quietly, almost brokenly): I have no idea what I think about you. I have no idea who you are.
Reid: Yes you do. You can't look at me and tell me that you don't know who I am.
Luke: How did this happen?
Reid: I wish... I don't know.
Luke: You told me that you'd fix him. You promised. Noah couldn't handle being blind, so I gave him the one chance in the world he thought he had by bringing you here. And now this. If he's never the same again, if he doesn't make it through this, then I just...
Reid: You what?
Luke: I can't...
Reid: You can't what? You can't what, Luke?
(Luke kisses Reid)
Luke (quietly, almost brokenly): I have no idea what I think about you. I have no idea who you are.
Reid: Yes you do. You can't look at me and tell me that you don't know who I am.
Luke: How did this happen?
Reid: I wish... I don't know.
Luke: You told me that you'd fix him. You promised. Noah couldn't handle being blind, so I gave him the one chance in the world he thought he had by bringing you here. And now this. If he's never the same again, if he doesn't make it through this, then I just...
Reid: You what?
Luke: I can't...
Reid: You can't what? You can't what, Luke?
(Luke kisses Reid)
What amazing scenes. Seeing Van Hansis take Luke from lashing out in anger to being on the brink of breaking down in tears and guilt for his part in Noah having the surgery, to finally facing up to his feelings for Reid, reminded me all over again of what an incredible actor he is. I think that working with Eric Sheffer Stevens just pushes him to be even greater. These are two truly talented guys, and these scenes would win them both Emmys if there was any justice in the world.
When the scenes picked up where they'd left off the next day, Reid began unbuttoning Luke's shirt while they kissed. Luke pulled back, wondering what the hell they were doing and reminding Reid that Noah was in a hospital bed. Luke though that they shouldn't have done any of this.
Reid: So, what, you kissed me out of anger? Out of fear?
Luke: Look, I don't know. Both, yeah.
Reid: I don't buy that and neither do you.
Luke: I've got to go.
Reid: Go ahead, run away.
Luke: I'm not running away!
Reid: You can't get out of the room fast enough.
Luke: Well I never should have come here! I never should have left Noah!
Reid: You can blame what just happened on your fear about Noah if that's what makes you feel better.
Luke: This is not about me feeling better.
Reid: Okay, then let's be honest.
Luke: How am I not honest?
Reid: Something has been brewing between us for a long time, and deep down you wanted it to happen just as much as I did.
Luke: Look, I don't know. Both, yeah.
Reid: I don't buy that and neither do you.
Luke: I've got to go.
Reid: Go ahead, run away.
Luke: I'm not running away!
Reid: You can't get out of the room fast enough.
Luke: Well I never should have come here! I never should have left Noah!
Reid: You can blame what just happened on your fear about Noah if that's what makes you feel better.
Luke: This is not about me feeling better.
Reid: Okay, then let's be honest.
Luke: How am I not honest?
Reid: Something has been brewing between us for a long time, and deep down you wanted it to happen just as much as I did.
Reid asked Luke to at least admit that this was true, but Luke said even if it was, Noah had to be a priority now for both of them. Reid pointed out that they'd been about to have sex, not move out of the state. If there was a change in Noah's condition, they'd both be there.
Luke said they couldn't be there for Noah if something happened that they couldn't take back. Reid reminded Luke that Noah had pushed him away and been unwilling to give him what he needed. He told Luke not to beat himself up for wanting to move on, but Luke replied that he couldn't do this and walked out the door.
Later, at the hospital, Luke sat with Noah and told him that he just wanted him to wake up so that he could do everything he wanted to do with his life. Reid came in to examine Noah and Luke tried to talk to him about what had happened between them earlier. Reid said they didn't have to talk about it, but Luke had to apologize for what he'd said about Reid wanting to hurt Noah.
Luke: I know that you'd never do anything to hurt Noah, no matter what your feelings were.
Reid: You're not all that, Mr. Snyder.
Luke: No, I guess I'm not. He was the first person I was ever in love with.
Reid: One's not such a low number.
Luke: I never thought I'd be with anyone except him.
Reid: That explains a lot.
Luke: So, yeah, about earlier-
Reid: You don't have to say anything about it. I get it Luke.
Reid told Luke that Noah's vitals were strong, but that they still wouldn't know anything for sure until he woke up. Luke asked if he should stay with Noah and Reid said that since there was a lot they still didn't know about states of unconsciousness, that sitting with Noah and letting him know he was there could help.
I really liked this scene because of the way it highlighted that Luke & Reid are relating to each other on a more mature level, and also the way that Luke spoke about Noah being his first love and never thinking that he'd be with anyone else demonstrated that he has started thinking that way now.
A day or two later, Reid woke Luke up in the hospital waiting room and told him that Noah was showing some signs of coming around and that they were going to run some tests. Luke started freaking out a bit about what they were going to do if Noah did have brain damage and Reid touched the side of his face, telling him to calm down.
Lily walked up in time to see the close moment between the two men and after Reid left she asked her son if there was something going on between the two of them. Luke admitted that Reid had told him he had feelings for him, and Lily was outraged that Noah's doctor would take advantage of Luke while he was worried about his ex.
Luke told his mother than Reid wasn't taking advantage of him and that he'd been completely honest with him the entire time.
Lily looked like someone had run over her puppy, indicating that she's clearly in the Nuke camp and not feeling the LuRe.
Luke asked why she was so sad and Lily told him that she wanted things to work out for him and Noah, and then the whole conversation became about how Lily and Holden were supposed to last forever, too, and didn't.
Lily asked if Luke wanted forever with Reid and he side stepped the question by saying he wanted Noah to wake up.
Luke went back in to sit with Noah, who of course has come out of brain surgery with a full head of hair like all people do in the real world. Noah promptly opened his eyes and Luke asked if he could see him.
Noah slowly focused in on his ex and then told Luke that he could see his eyes and that they were the most amazing thing he'd ever seen in his life.
Reid came along shortly afterward and asked Luke to step out so that he could examine his patient. Noah's vision was still blurry, but Reid assured him that it would improve with time. I have to say, Jake Silbermann was looking particularly hot in this scene, laying in bed with a tight gray t-shirt on. I think he's been working out even more than usual.
Noah went on about how Luke had made all of this happen by bringing Reid to Oakdale and how he'd been pushing Luke away and needed to make it up to him. Reid left the room, telling Luke that Noah was all his.
Noah asked Luke to sneak him outside so that he could see the world, so Luke took him up to the roof. Don't worry, folks, as long as you come out of brain surgery with a full head of hair, it's totally okay to be mobile within a few days!
Noah apologized to Luke for how hard he'd been on him and said that a lot of people talk about love, but Luke really does it, and Noah was grateful for that.
Luke told Noah not to apologize for not wanting to be with him anymore, that it happens sometimes. Noah said that it hadn't had anything to do with Luke, that he'd just been so afraid that he'd never see again. Luke looked decidedly less than enthusiastic to hear this, especially after Noah said that he knew they had a lot to work through but that he hoped that their relationship was strong enough to survive.
I'm sorry, I suppose I should feel some sympathy for Noah, but he's so selfish! He pushes Luke away for months, and suddenly he's got his vision back and just expects that they can still be together after all he put Luke through! Yes, Luke got a token apology, but come on!
Luke tried to avoid the issue by telling Noah to focus on his health, not on their relationship.
Before they could talk any further, Reid stormed onto the roof, a little ticked off that his patient was out of bed and up on the roof. Reid called Luke an idiot and said that while Noah had a reason for not thinking clearly, Luke had no excuse.
Reid examined Noah and went on again about Luke's stupidity. Noah remarked that he'd thought Reid and Luke were getting along better since their trip to Texas and then Luke walked in just in time to hear Reid telling Noah that he'd wanted something from Luke and now that he'd got it, he didn't have to fake being nice any more.
Luke demanded to know if that's all it was, if Reid had been using him, and Reid sarcastically said that he was sorry he couldn't be Luke's new best friend, but that at least he had Noah. After Reid left, Noah remarked that Reid was a great doctor but a lousy person, and then noticed how upset Luke seemed. Before he could put two and two together, though, Casey and Allison arrived for a visit.
Luke took the opportunity to give Noah a copy of his film and asked him to be kind if he didn't like his final edit. Noah took Luke's hand and promised to be as kind to him as Luke had been to Noah. Reid, watching through the window, saw the gesture, and came in demanding to know what part of 'the patient needs rest' they didn't understand.
Casey and Allison made a hasty exit and Luke offered to go so Noah could get some rest, but Noah wanted him to stay. Luke set him up with a portable DVD player so he could watch his film and then went out in the hall, where he asked Reid why he was treating him this way.
Reid told Luke that Noah still had months of recovery ahead of him and that turning his room into party central wasn't going to help.
Luke apologized for jeapordizing Noah's recovery, but told Reid that he was wrong if he thought Luke was spending time with Noah out of guilt.
I really liked this scene because of the way it highlighted that Luke & Reid are relating to each other on a more mature level, and also the way that Luke spoke about Noah being his first love and never thinking that he'd be with anyone else demonstrated that he has started thinking that way now.
A day or two later, Reid woke Luke up in the hospital waiting room and told him that Noah was showing some signs of coming around and that they were going to run some tests. Luke started freaking out a bit about what they were going to do if Noah did have brain damage and Reid touched the side of his face, telling him to calm down.
Lily walked up in time to see the close moment between the two men and after Reid left she asked her son if there was something going on between the two of them. Luke admitted that Reid had told him he had feelings for him, and Lily was outraged that Noah's doctor would take advantage of Luke while he was worried about his ex.
Luke told his mother than Reid wasn't taking advantage of him and that he'd been completely honest with him the entire time.
Lily: So you're encouraging him? What about Noah?
Luke: Mom, we broke up. You know that. He said he needed his space, he couldn't have that with me there, so we ended things.
Luke: Mom, we broke up. You know that. He said he needed his space, he couldn't have that with me there, so we ended things.
Lily: You said that Dr. Oliver has feelings for you. What about you? Do you have feelings for him?
Luke: Yeah, but I'm not really sure what they are right now. Reid's sure, though. (Lily makes a face) What?
Luke: Yeah, but I'm not really sure what they are right now. Reid's sure, though. (Lily makes a face) What?
Lily: I just can't imagine you with anyone other than Noah.
Luke: Yeah, I used to think that, too.
Lily: He doesn't seem like a very nice man.
Luke (an adorable grin spreading across his face): Dr. Oliver? He's not. He's rude and he's cold, and he's rude.
Luke: Yeah, I used to think that, too.
Lily: He doesn't seem like a very nice man.
Luke (an adorable grin spreading across his face): Dr. Oliver? He's not. He's rude and he's cold, and he's rude.
Lily: And you find that attractive?
Luke: No, it's just, he's in your face. He's like, 'Okay, here I am, and this is what I'm feeling, deal with that', and to have a guy like that, a guy who says exactly what he feels at all times, to have somebody like that say that the likes you, feels nice for a change.
Luke: No, it's just, he's in your face. He's like, 'Okay, here I am, and this is what I'm feeling, deal with that', and to have a guy like that, a guy who says exactly what he feels at all times, to have somebody like that say that the likes you, feels nice for a change.
Lily looked like someone had run over her puppy, indicating that she's clearly in the Nuke camp and not feeling the LuRe.
Luke asked why she was so sad and Lily told him that she wanted things to work out for him and Noah, and then the whole conversation became about how Lily and Holden were supposed to last forever, too, and didn't.
Lily asked if Luke wanted forever with Reid and he side stepped the question by saying he wanted Noah to wake up.
Luke went back in to sit with Noah, who of course has come out of brain surgery with a full head of hair like all people do in the real world. Noah promptly opened his eyes and Luke asked if he could see him.
Noah slowly focused in on his ex and then told Luke that he could see his eyes and that they were the most amazing thing he'd ever seen in his life.
Reid came along shortly afterward and asked Luke to step out so that he could examine his patient. Noah's vision was still blurry, but Reid assured him that it would improve with time. I have to say, Jake Silbermann was looking particularly hot in this scene, laying in bed with a tight gray t-shirt on. I think he's been working out even more than usual.
Noah went on about how Luke had made all of this happen by bringing Reid to Oakdale and how he'd been pushing Luke away and needed to make it up to him. Reid left the room, telling Luke that Noah was all his.
Noah asked Luke to sneak him outside so that he could see the world, so Luke took him up to the roof. Don't worry, folks, as long as you come out of brain surgery with a full head of hair, it's totally okay to be mobile within a few days!
Noah apologized to Luke for how hard he'd been on him and said that a lot of people talk about love, but Luke really does it, and Noah was grateful for that.
Luke told Noah not to apologize for not wanting to be with him anymore, that it happens sometimes. Noah said that it hadn't had anything to do with Luke, that he'd just been so afraid that he'd never see again. Luke looked decidedly less than enthusiastic to hear this, especially after Noah said that he knew they had a lot to work through but that he hoped that their relationship was strong enough to survive.
I'm sorry, I suppose I should feel some sympathy for Noah, but he's so selfish! He pushes Luke away for months, and suddenly he's got his vision back and just expects that they can still be together after all he put Luke through! Yes, Luke got a token apology, but come on!
Luke tried to avoid the issue by telling Noah to focus on his health, not on their relationship.
Noah: Okay, I know I may not be able to see the expression on your face, but I can feel it, somethings changed. What is it?
Luke tried to talk about everything had changed since Noah could see again, but Noah shut that down, saying that he could tell that something had changed with Luke, that he was being different with Noah.
Luke reminded Noah of how he hadn't cared that Noah wasn't able to see, that he'd just wanted to be with him, but Noah hadn't felt the same way.
Noah: So I'm asking, has the way you feel about me changed?
Luke: Yeah. It has.
Noah: Wow. I know I asked, I just never expected you to say yes.
Luke: Yeah. It has.
Noah: Wow. I know I asked, I just never expected you to say yes.
Luke reminded Noah of how he hadn't cared that Noah wasn't able to see, that he'd just wanted to be with him, but Noah hadn't felt the same way.
Luke: Noah, I was in this one hundred percent. And I asked you, remember, all or nothing? And you chose nothing.
Noah: I know what I said then, but-
Luke: You told me to go on with my life and now you're acting like that never happened. What happens if you change your mind tomorrow?
Noah: I didn't push you away because I stopped loving you, because I haven't, I couldn't!
Yes! I'm so glad that Luke is finally calling Noah on all of this. I was worried that as soon as Noah had his sight back and expected Luke to fall into his arms again, Luke would act as if all the hurtful things Noah said and did weren't important, would just give him a free pass. I'm so glad that isn't happening and that Luke is finally growing up.
Noah told Luke that when he couldn't see, he'd felt cut off from the world, but now that he had his sight back, he felt connected to Luke again. Luke explained that while Noah had felt like he was somewhere else, Luke had been right there the whole time, begging him not to leave.
Noah: I know what I said then, but-
Luke: You told me to go on with my life and now you're acting like that never happened. What happens if you change your mind tomorrow?
Noah: I didn't push you away because I stopped loving you, because I haven't, I couldn't!
Luke: Who cares? When things got rough, you were you. You weren't us. And I know you were hurting, Noah, I was hurting too. But the difference is that I didn't abandon you.
Yes! I'm so glad that Luke is finally calling Noah on all of this. I was worried that as soon as Noah had his sight back and expected Luke to fall into his arms again, Luke would act as if all the hurtful things Noah said and did weren't important, would just give him a free pass. I'm so glad that isn't happening and that Luke is finally growing up.
Noah told Luke that when he couldn't see, he'd felt cut off from the world, but now that he had his sight back, he felt connected to Luke again. Luke explained that while Noah had felt like he was somewhere else, Luke had been right there the whole time, begging him not to leave.
Luke: Noah, we haven't been happy for a long time. I can't go back to the way it was before the accident.
Noah: I don't expect you to. I mean, I can't either. But I still want to be with you. We can find a new way to be together if you want to.
Luke: A few months ago, I think I would have known what that meant. Now I'm not so sure.
Noah: I don't expect you to. I mean, I can't either. But I still want to be with you. We can find a new way to be together if you want to.
Luke: A few months ago, I think I would have known what that meant. Now I'm not so sure.
Before they could talk any further, Reid stormed onto the roof, a little ticked off that his patient was out of bed and up on the roof. Reid called Luke an idiot and said that while Noah had a reason for not thinking clearly, Luke had no excuse.
Reid examined Noah and went on again about Luke's stupidity. Noah remarked that he'd thought Reid and Luke were getting along better since their trip to Texas and then Luke walked in just in time to hear Reid telling Noah that he'd wanted something from Luke and now that he'd got it, he didn't have to fake being nice any more.
Luke demanded to know if that's all it was, if Reid had been using him, and Reid sarcastically said that he was sorry he couldn't be Luke's new best friend, but that at least he had Noah. After Reid left, Noah remarked that Reid was a great doctor but a lousy person, and then noticed how upset Luke seemed. Before he could put two and two together, though, Casey and Allison arrived for a visit.
Luke took the opportunity to give Noah a copy of his film and asked him to be kind if he didn't like his final edit. Noah took Luke's hand and promised to be as kind to him as Luke had been to Noah. Reid, watching through the window, saw the gesture, and came in demanding to know what part of 'the patient needs rest' they didn't understand.
Casey and Allison made a hasty exit and Luke offered to go so Noah could get some rest, but Noah wanted him to stay. Luke set him up with a portable DVD player so he could watch his film and then went out in the hall, where he asked Reid why he was treating him this way.
Reid: I'm sorry you don't like the way I'm treating you.
Luke: Look, it's just that I thought-
Reid: I'm being a responsible neurosurgeon, protecting my patient from his own reckless behavior. What are you doing?
Luke: What do you mean? I'm trying to support Noah, that's what he needs. I'm trying to be there for him.
Reid: No you're not. You're trying to make up for the fact that you kissed me.
Luke: We kissed each other.
Reid: But I don't feel guilty about it. You do. That's why you're pretending that you and Noah are star crossed lovers all over again.
Luke: I never said that.
Reid: You didn't have to. You're playing the devoted boyfriend to the hilt, it's sickening.
Luke: Are you jealous?
Reid: I don't have time to be jealous, okay? But just so we're clear, you're not helping your boyfriend.
Luke: Look, he's not my boyfriend! He's just-
Reid: He's what?
Luke: He's feeling better. Isn't that all that matters?
Luke: Look, it's just that I thought-
Reid: I'm being a responsible neurosurgeon, protecting my patient from his own reckless behavior. What are you doing?
Luke: What do you mean? I'm trying to support Noah, that's what he needs. I'm trying to be there for him.
Reid: No you're not. You're trying to make up for the fact that you kissed me.
Luke: We kissed each other.
Reid: But I don't feel guilty about it. You do. That's why you're pretending that you and Noah are star crossed lovers all over again.
Luke: I never said that.
Reid: You didn't have to. You're playing the devoted boyfriend to the hilt, it's sickening.
Luke: Are you jealous?
Reid: I don't have time to be jealous, okay? But just so we're clear, you're not helping your boyfriend.
Luke: Look, he's not my boyfriend! He's just-
Reid: He's what?
Luke: He's feeling better. Isn't that all that matters?
Reid told Luke that Noah still had months of recovery ahead of him and that turning his room into party central wasn't going to help.
Luke apologized for jeapordizing Noah's recovery, but told Reid that he was wrong if he thought Luke was spending time with Noah out of guilt.
Reid: But now that Noah's whole you want to pretend that none of it happened, right, forget that the whole thing went down?
Luke: I haven't forgotten.
Reid: Good to know.
Luke: Look, this isn't about medicine. You can't stand seeing me and Noah together, and you don't want to admit it.
Reid: I have an idea, Mr. Snyder. I think it would be best for everyone involved if you and I went back to the way things were before Texas.
Luke: What do you mean?
Reid: You need me to draw you a picture? Leave me and my patient alone.
Luke: I'm all Noah's got!
Reid: No, I am! I've been doing everything I can to give Noah his life back, which means that right now Noah needs me more than he needs you. I don't want you hanging around here anymore, I want you to stay out of my way.
Luke (getting in Reid's face): You're lying. This is not about medicine. It's personal.
Reid: No, it's not. Noah is my patient, you're his cheating boyfriend.
Luke: We are not back together! You know that.
Reid: Does Noah realize that?
Luke: Well, we're trying to work things out.
Reid: Good luck with that, Mr. Snyder. (starts to leave)
Luke (stopping him): No, don't call me that.
Reid: What do you want from me? Tell me. You want me to pretend that nothing happened between us? That's not the way I work. We both know it's not true (touches Luke's face).
Luke: I haven't forgotten.
Reid: Good to know.
Luke: Look, this isn't about medicine. You can't stand seeing me and Noah together, and you don't want to admit it.
Reid: I have an idea, Mr. Snyder. I think it would be best for everyone involved if you and I went back to the way things were before Texas.
Luke: What do you mean?
Reid: You need me to draw you a picture? Leave me and my patient alone.
Luke: I'm all Noah's got!
Reid: No, I am! I've been doing everything I can to give Noah his life back, which means that right now Noah needs me more than he needs you. I don't want you hanging around here anymore, I want you to stay out of my way.
Luke (getting in Reid's face): You're lying. This is not about medicine. It's personal.
Reid: No, it's not. Noah is my patient, you're his cheating boyfriend.
Luke: We are not back together! You know that.
Reid: Does Noah realize that?
Luke: Well, we're trying to work things out.
Reid: Good luck with that, Mr. Snyder. (starts to leave)
Luke (stopping him): No, don't call me that.
Reid: What do you want from me? Tell me. You want me to pretend that nothing happened between us? That's not the way I work. We both know it's not true (touches Luke's face).
At that point, Noah walked by, looking for Luke. It appeared that he was able to see a blurry image of Reid and Luke in that intimate position, but who knows for sure?
These were some truly great episodes for LuRe fans. I loved that they're making it quite clear that while Luke still loves Noah, he doesn't know if he really wants to be with him after everything that happened, and that he isn't at all willing to dismiss what he feels for Reid.
I've complained about this storyline quite a bit, and with very good reason, but they're finally doing something very right! The Reid/Luke/Noah love triangle makes for some pretty damn good soap opera. I can't wait to see what happens next, as long as it involves Luke and Reid living happily ever after and having at least one very hot onscreen love scene before the show ends!
These were some truly great episodes for LuRe fans. I loved that they're making it quite clear that while Luke still loves Noah, he doesn't know if he really wants to be with him after everything that happened, and that he isn't at all willing to dismiss what he feels for Reid.
I've complained about this storyline quite a bit, and with very good reason, but they're finally doing something very right! The Reid/Luke/Noah love triangle makes for some pretty damn good soap opera. I can't wait to see what happens next, as long as it involves Luke and Reid living happily ever after and having at least one very hot onscreen love scene before the show ends!
Wednesday, May 12, 2010
HMS Daytime Continues to Sink
The Daytime Emmys are as big of a joke as daytime soaps themselves have become. The nominations were announced today and just confirm that this entire industry is content to run itself completely into the ground while maintaining the status quo.
Both Scott Evans and Brett Claywell were pre-nominated for their AMAZING work on One Life to Live (largely because new rules allowed them to submit themselves and not have to be pre-nominated by their fellow cast members), but neither received an actual nomination. In fact, One Life to Live, easily the best soap on the air over the last few years, was not nominated for Outstanding Drama Series or Outstanding Writing Team.
This is just a complete travesty and proves that the medium is dying for a very good reason. A show takes the time to write an incredibly groundbreaking story; they write it beautifully, they hire two outstanding actors who portray the characters perfectly; they hold nothing back, in fact, and give us a perfect example of what soaps could and should be like.
The end result? The network kills the story, fires the actors, brings in a hack like Jean Passanante to 'help take the soap in a new (read: old, tired, and badly written) direction', and the people who are supposed to at least reward the outstanding work of their peers completely ignore the entire thing, not even bothering to hand them a single nomination.
Brett Claywell himself had this to say on twitter today:
Way to fiddle while Rome burns, daytime.
Both Scott Evans and Brett Claywell were pre-nominated for their AMAZING work on One Life to Live (largely because new rules allowed them to submit themselves and not have to be pre-nominated by their fellow cast members), but neither received an actual nomination. In fact, One Life to Live, easily the best soap on the air over the last few years, was not nominated for Outstanding Drama Series or Outstanding Writing Team.
This is just a complete travesty and proves that the medium is dying for a very good reason. A show takes the time to write an incredibly groundbreaking story; they write it beautifully, they hire two outstanding actors who portray the characters perfectly; they hold nothing back, in fact, and give us a perfect example of what soaps could and should be like.
The end result? The network kills the story, fires the actors, brings in a hack like Jean Passanante to 'help take the soap in a new (read: old, tired, and badly written) direction', and the people who are supposed to at least reward the outstanding work of their peers completely ignore the entire thing, not even bothering to hand them a single nomination.
Brett Claywell himself had this to say on twitter today:
We tell a story that was groundbreaking and powerful, then lose my job and am overlooked for a nomination. Daytime is such a joke.
Way to fiddle while Rome burns, daytime.
Tuesday, May 11, 2010
Everything's Coming Up Kurt
Things are still busy and I'm trying to make time to catch up with most of my shows (I haven't been able to get to last week's LuRe episodes of As the World Turns just yet, for instance), but there is one series that I never fail to watch the night it airs. It should surprise no one that the show I'm talking about is Glee.
I really have to say that Mike O'Malley and Chris Colfer knocked it out of the park yet again in their final scene together on tonight's show. I can never get through one of their father/son moments without tears in my eyes! Don't bother voting, just send the Emmys to them now.
Kurt's insecurity over losing his dad because of his sexuality was very genuine, and I thought the show found the perfect balance between the humor of Kurt attempting to 'straighten up' and the very real emotions that were behind him feeling the need to do so. That's where Chris Colfer really shines, I think. I love his voice and he's incredibly funny, but he really kills me in the emotional scenes.
And how amazing was his rendition of 'Rose's Turn'?! One of my favorite Glee performances to date, I have to say. His butch attempt at doing Mellencamp's 'Pink Houses' in a deeper than normal voice wasn't bad at all, but it just wasn't Kurt. The minute the music for 'Rose's Turn' started, though, I gasped and clapped my hands in anticipatory glee (do you think moments like this could have something to do with why I'm still single?!).
I'm glad that Santana got to sing again in the episode, I really like her voice. I also really enjoyed there being more Puck tonight, too. Mark Salling pretty much rocks my world. The man just personifies hotness.
I did miss seeing Jonathan Groff's adorable mug as Jesse, though! (And by the way, how blind was I that I didn't see Finn's rendition of 'Jesse's Girl' coming from a mile away?)
Speaking of Jonathan, both Cheyenne Jackson and Michael Urie have joined Kristin Chenoweth in responding to Ramin Setoodeh's ridiculously homophobic Newsweek piece on gay actors being unable to successfully portray straight characters.
Michael Urie:
I love that both guys are so quick to come to Jonathan Groff's defense in particular, since he is newly out and Setoodah seemed to take a special delight in ripping apart his ability to portray a straight character post-coming out (though apparently he was just fine at playing one successfully in Spring Awakening before he came out, which as Chenoweth pointed out is a pretty contradictory statement).
I think it's interesting that no one has really pointed out that if anything, it's the writing for Jesse that is making the character come across as something other than the stereotypical straight character. Jesse loves Sondheim, he refers to himself as a drama queen, he's in show choir and ballet, and he praises Olivia Newton John's 'Physical' for its groundbreaking depiction of sexual fluidity. None of that is about Jonathan Groff's personal life, that's the writer's take on the character!
Did it ever occur to Setoodah that the way Jonathan is playing the part likely has nothing to do with his own sexuality and everything to do with how he's being directed? I honestly think it would be surprising if the character of Jesse wasn't bisexual and I suspect Groff has been asked to portray him with that in mind.
What Setoodah is really saying is that no one would buy Groff as being attracted to women, and that's just ridiculous since there's plenty of chemistry between him and Lea Michele.
Anyway, next week is another Glee episode I've been waiting for with great anticipation. Three words: Neil. Patrick. Harris. Yes!
Now, if you'll excuse me, I need to watch Kurt's version of 'Rose's Turn' at least once more before bed.
I really have to say that Mike O'Malley and Chris Colfer knocked it out of the park yet again in their final scene together on tonight's show. I can never get through one of their father/son moments without tears in my eyes! Don't bother voting, just send the Emmys to them now.
Kurt's insecurity over losing his dad because of his sexuality was very genuine, and I thought the show found the perfect balance between the humor of Kurt attempting to 'straighten up' and the very real emotions that were behind him feeling the need to do so. That's where Chris Colfer really shines, I think. I love his voice and he's incredibly funny, but he really kills me in the emotional scenes.
And how amazing was his rendition of 'Rose's Turn'?! One of my favorite Glee performances to date, I have to say. His butch attempt at doing Mellencamp's 'Pink Houses' in a deeper than normal voice wasn't bad at all, but it just wasn't Kurt. The minute the music for 'Rose's Turn' started, though, I gasped and clapped my hands in anticipatory glee (do you think moments like this could have something to do with why I'm still single?!).
I'm glad that Santana got to sing again in the episode, I really like her voice. I also really enjoyed there being more Puck tonight, too. Mark Salling pretty much rocks my world. The man just personifies hotness.
I did miss seeing Jonathan Groff's adorable mug as Jesse, though! (And by the way, how blind was I that I didn't see Finn's rendition of 'Jesse's Girl' coming from a mile away?)
Speaking of Jonathan, both Cheyenne Jackson and Michael Urie have joined Kristin Chenoweth in responding to Ramin Setoodeh's ridiculously homophobic Newsweek piece on gay actors being unable to successfully portray straight characters.
Michael Urie:
Cheyenne responded with this:Look, I'm not from f*cking Vienna [He's playing a Viennese character currently on stage]. We're all actors, and the audiences get it. When I saw Sean Hayes in Promises, Promises, it was a full house and everyone was completely in love with him. And I saw it at a Wednesday matinee full of tourists. They've all seen Sean in Will & Grace, and they loved him and believed in his relationship with Kristin. It worked.
And to attack, to quote Ugly Betty, someone [like Groff] recently 'hatched from the gay egg' is unconscionable and he should strung be [up]. [Groff] made everyone want him in Spring Awakening. And Cheyenne was f*cking Elvis in All Shook Up. He was sexy and hot. He's always playing straight. And people buy tickets to see him. No straight critics accuse Sean Penn of not being able to play Harvey Milk or [criticize] Tom Hanks in Philadelphia.
''That's because when straight actors play gay, they're so 'brave.' Why is it so f*cking 'brave'? It's a part and he's a good actor. I hope we can get to the day where the best actor gets the part. End of story.''
I think it's interesting that no one has really pointed out that if anything, it's the writing for Jesse that is making the character come across as something other than the stereotypical straight character. Jesse loves Sondheim, he refers to himself as a drama queen, he's in show choir and ballet, and he praises Olivia Newton John's 'Physical' for its groundbreaking depiction of sexual fluidity. None of that is about Jonathan Groff's personal life, that's the writer's take on the character!
Did it ever occur to Setoodah that the way Jonathan is playing the part likely has nothing to do with his own sexuality and everything to do with how he's being directed? I honestly think it would be surprising if the character of Jesse wasn't bisexual and I suspect Groff has been asked to portray him with that in mind.
What Setoodah is really saying is that no one would buy Groff as being attracted to women, and that's just ridiculous since there's plenty of chemistry between him and Lea Michele.
Anyway, next week is another Glee episode I've been waiting for with great anticipation. Three words: Neil. Patrick. Harris. Yes!
Now, if you'll excuse me, I need to watch Kurt's version of 'Rose's Turn' at least once more before bed.
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