Sexuality is a nebulous thing in "Tron: Legacy," Disney's $200 million video art installation, especially when the two romantic leads (Garrett Hedlund and Olivia Wilde) come across less as full-blooded humans capable of a sexual connection and more like two Disneyland animatronics placed in close proximity of one another. Michael Sheen, though, as a duplicitous and thoroughly evil club owner, carries his own swishy sexuality – in a world full of ciphers and users and gamers, he stands out as a big ol' queer. Visually, he carries a number of cues to pansexual greats of the past, equal parts Ziggy Stardust and Yves Saint Laurent, and his flamboyant way of speaking ("Electrify the boys and girls!" he coos at a "TRON"-ized version of Daft Punk) and walking (at one point he does a little Charlie Chaplin shuffle) suggests a kind of Broadway-style theatricality. And you know who populates Broadway, right? When Sheen brings the heroic Flynn, Jr. (Hedlund) into his office, it reeks of a sexual proposition, with an older man preying on a younger one, complete with the exchange of favors and a mysterious alcoholic beverage. What's unclear is why the most identifiable sexual traits in all of the mostly asexual "Tron: Legacy" should be oversized, outdated homosexual identifiers and why they should be assigned to a villainous club owner.
Among the bootleggin’ brothers, rugged local authorities and tough guy gangsters of John Hillcoat’s “Lawless,” there is special agent Charlie Rakes. Emphasis on “special.” Portrayed by Guy Pearce, he’s certainly ruthless, but coming from the mysterious land of Chicago, with shaved eyebrows, a carefully manicured head of hair, and wardrobe of well-formed clothing, his dandy-ish ways stand out against the rugged, outwardly masculine landscape he gets caught up in. Yes, he does avail himself of a prostitute, but one could argue his abuse of her is a reflection of his own self-hatred. Aghast at filth, upset when his white gloves becomes soiled, intentionally or not, Charlie Rakes is presented as an “other.” It’s not overt or even intentional, but the subtext is certainly there -- he’s not just unlikeable for being the antagonist for the Bondurants, but also for embodying a distinctly different set of rules when it comes to how he embraces his manhood.
Like "Tron: Legacy," "Snow White and the Huntsman" is a largely sexless affair, despite a love triangle wedged in its gooey center (between Kristen Stewart, Chris Hemsworth and Sam Claflin, all of whom look like they're incredibly uninterested in one another), and saves its most outwardly sexual character traits for Sam Spruell as Finn, Charlize Theron's villainous brother and loyal henchman. While Theron's Ravenna has some agency – she wants to rule the land, kill Snow White, and turn into a weird puddle of birds – Finn is ineffectual and wimpy, conversely attracted to and repelled by his sister's staggering beauty. The filmmakers chose to slap Spruell with a Lord Fauntleroy pageboy haircut that automatically puts him in the realm of an outcast. We're not sure Spruell played the character as gay, but it seems like a concerted effort between all departments to make him as bizarre and off-putting as possible, with a strong shellacking of homosexual otherness on top. He might not be the fairest in the land, but he is the most fey.
And that's just scratching the surface, really. He may not have been entirely aware of it (nor were some audiences), but Christoph Waltz's "that's a bingo!" turn in "Inglourious Basterds" as a deliciously officious and articulate Nazi was as swishy as jello. Michael Caine as the demented therapist in “Dressed to Kill,” Ted Levine as the drifter in “Silence of the Lambs,” even Sam Rockwell’s uber-strange drug-dealer in the “The Sitter” and Alan Tudyk as King Candy in “Wreck-It Ralph” are suspicious enough to send the gaydar alarm off.
Thoughts? Do you care? Have you seen more examples or offenders? Does it bother you or otherwise? Let us know what you think and weigh in below.
- RP, Drew Taylor, Kevin Jagernauth