You Kill That Man, You Die Next

In the largely forgotten 1994 film Sleep with Me, Quentin Tarantino shows up for one scene to explain the gay subtext of Top Gun. “It’s a story about a man’s struggle with his own homosexuality,” he says, explaining that Maverick is torn between “the gay way”, represented by Val Kilmar and the fighter pilots, and heterosexuality, represented by Kelly McGillis. “The more he talks, the more plausible his theory sounds,” Roger Ebert wrote in his review. By the end of the scene, initially sceptical Todd Field is enthusiastically on-board.

Despite gay subtext’s long history in literary studies, it’s recently gotten a bit of a bad rap, in part due to the over-extension of the term queerbaiting. Queerbaiting, a fandom-coined term, refers to media, usually in serial formats like TV shows, teasing characters as LGBT or forming same-gender relationships in order to pander to LGBT fans but with no intention to follow through. Queerbaiting is definitely a thing that has happened on occasion – the TV show Supernatural, mostly – but it’s a term without nuance or historical root, that requires both projecting intent on the creators and flattening the relationship between subtext and text into a simple dichotomy.

But the relationship between gay subtext and overt gay text is complex and contingent. When Moonlight won the Oscar for Best Picture, many news outlets called it the first LGBT winner, and it made me feel vaguely uneasy. It is true, in some sense: there definitely hadn’t been a Best Picture winner that portrayed gay relationships as openly as Moonlight. But is Midnight Cowboy an LGBT film? Many of these articles rationalise that it is not because Joe (Jon Voight) only has sex with men for money, but that’s equally true of Keanu Reeves’s character in My Own Private Idaho, often listed as an unfairly snubbed LGBT film in these same articles. In one scene, Joe is unable to get an erection when with a female client, so they play Scrabble, and she spells out “G-A-Y”. The relationship between Joe and Ratso (Dustin Hoffman) is one of intimate partnership: I think often of Joe wiping Ratso’s face with his shirttail and Ratso clinging to his bare belly. Hoffman asked director John Schlesinger (a gay man) why they weren’t sleeping in the same bed, and Schlesinger said, “Oh God! Please! It was hard enough to get the financing.” After Midnight Cowboy was awarded Best Picture in 1970, John Wayne infamously called it “a story about two f*gs” and a “perverse movie”.

A decade earlier, Biblical epic Ben-Hur won Best Picture, into the screenplay for which Gore Vidal had consciously written a homoerotic subtext. A decade before that, All About Eve won, a film that only makes sense if Eve is a lesbian. (All About Eve has been criticised for homophobia while simultaneously achieving cult status among gay audiences, in no small part due to Bette Davis’s fabulousness.) At the very first Oscars in 1929, one of two Best Picture awards was given to Wings, the first film to portray a man kiss another man on the lips, accompanied by the title cards, “You – you know there is nothing in the world that means so much to me as your friendship” and then, “I knew it – – all the time – – ”

But whether a film has a gay subtext is ultimately a question of whether the viewer can make a legitimate case that it does. Something doesn’t have to be widely agreed to be present in a film for it to be present. Three years after John Schlesinger couldn’t have two men share a bed in Midnight Cowboy, Charlie (Harvey Keitel) and Johnny Boy (Robert De Niro) share a bed in Mean Streets, a film almost no-one thinks has a gay subtext. But as one of those few and proud: the film cuts from Charlie and Johnny in bed together to Charlie sleeping with his girlfriend, in a kind of displaced homoeroticism. Later, there’s a scene where two gay guys get into the car with Charlie and his friends, and it’s a bizarre, meaningless and pretty homophobic detour unless you think that the guy flirting with Charlie has clocked him – LGBT people recognise each other in a way cis straight people do not – and Charlie’s discomfort is his unease with his own sexuality.

It can be easier to make the case for the homoerotic undercurrents of Midnight Cowboy or Ben-Hur because we know that people involved in their production were LGBT – John Schlesinger and Gore Vidal, respectively – but meaning exists in the piece of art itself, it is not just injected into it from its surrounding context. If a higher burden of proof is placed on gay readings than on other interpretations, it eliminates the possibility of stories from the closet – whether that means art about closeted characters, or art that is itself closeted. It’s rooted in the assumption that all people are straight until they disclose otherwise, and cuts the contemporary moment off from all historical precedent. It paternalistically reduces the glint of recognition in the eye of the LGBT audience to being hoodwinked.

“You can watch any movie, and it doesn’t matter what the director was thinking, or what the people making the movie was thinking, if you can make a case for it, you can lay in a subtext into a film, make it a… much more enjoyable way to watch the film,” Quentin Tarantino told Craig Ferguson in 2010, “Like gay subtext! Gay subtext for instance. Always makes every movie better.”

Which brings us to Reservoir Dogs.

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Oliver in the High Castle: Nazis in Pop Culture

The fourth annual Arrowverse crossover event – bringing together characters from The CW’s Arrow, The Flash, Legends of Tomorrow and Supergirl – was called “Crisis on Earth-X” and I…enjoyed it? I’ve written previously about my visceral hatred for superhero TV show crossovers, and “Crisis on Earth-X” certainly doesn’t avoid all the problems of the genre, but, as a self-contained story – as a TV movie, essentially – it’s certainly the most successful Arrowverse crossover yet.

It was about Nazis.

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