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I've seen the poster for Theo & Hugo on the Tube over the past few of weeks. It's the second time this year I've seen a poster advertising a gay film out there in the mainstream world. The other one was for Departure, another Peccadillo Pictures feature. I saw both films at this year's BFI Flare, and they were hands down the worst of all the films I saw. But whereas Departure is a rich kid's vanity project, filmed at a chum's luxury French chateau, boosted by establishment chums at the BFI, and now regurgitated by well-to-do chums at Peccadillo, Theo & Hugo is merely interminable (despite an extended orgy sequence that's about as sexy as a mud wrestling match between Donald Trump and Ted Cruz.)
Jaden and Willow Smith's latest photoshoot is a bit weird, innit? Talk about incestuous. I wouldn't mind if it was Will and Jaden (and let's face it, it's not like they haven't French-kissed in public before).
It's been a long time since we've had an MP sex scandal as juicy as Keith Vaz and his trio of male hookers. It's hard to justify his behaviour - not the the hiring of young men for sex, per se - hell, if I win the lottery, I'll have one for breakfast, two for lunch, and half a dozen for dinner three times a week - but the awful harm done to his (presumably) unsuspecting wife and children. That aside, Vaz isn't a hypocrite: he has supported gay equality and the decriminalisation of sex work, and spoke up against the ban on poppers, saying "The government recognises that representations have been made to the effect that 'poppers' have a beneficial health and relationship effect in enabling anal sex for some men who have sex with men, amid concern about the impact of the ban on these men."
It was with thirsty anticipation that I
The legendary Maxwell (mid-90s neo-soul royalty) has teamed up with Mary J. Blige for a "King + Queen of Hearts World Tour". It's like wearing Primark with Gucci. I don't see it as a match, and not just because I personally dislike the warbling, caterwauling Bilge, (who's probably just desperate for the cash), but I'd sooner have seen him step out on stage with Toni Braxton.
RuPaul's Drag Race All Stars' second season has thus far been oddly lacklustre, more so when Tatianna sashayed away. Everyone wanted to see more of Tatianna (the same can't be said for newly departed Ginger Minj, sent packing by a show-stealing Alyssa Edwards). It's also a shame that Untucked appears to have been folded into the main show, and now takes place in the workroom. I was a big fan of the stripped back, documentary-style incarnation of Untucked from season eight - I hope it hasn't gone for good (the same can't be said for Phi Phi O'Hara, who appears to have lost her Redemption script. But who wants to see a good Phi Phi?)
I've tried with Orange Is The New Black. I started watching a month or so back, galvanised by the hype (and a free trial of Netflix), but it's just not working for me. And I love prison shows. I've watched Oz from start to finish (several times over), and I'm still making my way through cult classic Prisoner (Bea Smith is everything). But OITNB - with its tepid lead Piper (who has the charisma of a limp lettuce leaf), and weird tone (sometimes it's like watching Saved By The Bell) - leaves me bored and confused. There might be some truth there, but the telling is self-indulgent and hamfisted. I'll stick with early '80s Wentworth Detention Centre, and return visits to Oswald State Penitentiary.
Last week I wrote about being won over by streaming. But in this era of peak TV, is it a case of too much of a good thing? All those shows we've been told are the best TV show of the year/decade/ever are instantly available, with hundreds, if not thousands, of episodes. That's another reason I'm bailing on OITNB - why waste time with a show that's only barely lukewarm? Another show I'm struggling with is Wayward Pines, so brilliant in its first season, but whose sophomore effort has turned to shit - despite the presence of Djimon Hounsou (I spelt his name without having to resort to Google!) - and the delicious Christopher Meyer (left). In fact, Wayward Pines' second season, tragically, is a textbook example of flogging a dead horse.
But Bette apologised for her supposed trans-gression, and a Coronation Street spokesperson has said, “We apologise if this dialogue has caused offence.” No apology necessary, guys. Professing outrage doesn't mean they're entitled to an apology. However hard it is, tell them to go f**k themselves. Now, Ellen's Bolt meme... That's another story.
Doris Day gives one of her most beloved performances in her favorite motion picture Calamity Jane (1953).
