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    Tuesday, January 17, 2006

    Loving and Hating The Golden Globes

    Okay, 4 for Brokeback. Good. Best Dramatic Picture, Best Director, Best Song, and Best Screenplay. But NO HEATH???


    Nominations for all the Desperate Housewives (just because they felt bad about leaving Eva out last year, I guess), but the one non-DH, Mary Louise-Parker from Weeds was the winner. DH won best Comedy, though, upping that queer quotient.Felicity Huffman got lucky on Transamerica and Philip Seymour Hoffman on Capote; in other words, two fine actors were rewarded, as they deserved, but for playing queer, of course. (So, why not HEATH?)
    Geena Davis (President Mac Allen) won for Commander in Chief. So, what does it all mean?

    1. Hollywood-America has embraced liberal values: feminism, queers, drugs.

    2. Hollywood-America still sees performing these liberal values as a particular challenge. (Imagine, a female president: what material does an actor have to work from?)

    3. Heath better get an Oscar or people are going to be mad. Including me.

    Edited to add:

    I Hate the New Yorker complexifies this whole thing and quite beautifully, putting me to shame:

    Practices of sex and gender in Hollywood-America (love this term, btw) are and have been VERY radical throughout the 20th C, maybe not more radical than other everyday practices, but more influential. Hollywood-America's representations of sex and gender have been tempered (read liberal, watered-down) representations for the mainstream of the radical possibilities for sex, gender and power that can and do exist. Read any Hollywood memoir. Or watch Celluloid Closet.

    This actually explains WHY there's no Golden Globe for Heath. (Actor plays) queer masculine figure who submits to heterosexist repression and plays straight? Nothing new. Give the Golden Globe to Cary Grant or Rock Hudson or Tom Cruise or George Clooney or you name it . . . all of whom can be understood as queer masculine figures playing (and thereby defining and creating) the straight American hero. Hoffman or Huffman playing (more or less) OUT characters is then a breakthrough.

    But the significance of BM may be that extra "(Actor plays)" in the equation: The great thing about BM, then, would be that Hollywood-America reveals its participation in the construction of mainstream masculinity as a performance of repressed queer masculinity . . . and that's a bit more difficult to sell-abrate right now.

    Does this make any damn sense? I'm working on it . . . All I'm saying is that we've been taught what masculinity and femininity are by radical queer Hollywood actors, who have been mocking, and playing, straight. And that rocks, but it's nothing new.


    Hell yeah. Read the whole thing, with great visual aids.

    Side note to zp: I don't find SITC sexy either. At. All.

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