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Tokenism, Coding, Baiting, and a Few Other Things LGBTQ Horror Fans are Over, Part 1

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Tokenism

It’s 2019! All is well and right with the world and representation and diversity is the rule and things like tokenism don’t happen anymore!

Wait…that’s not right.

Oh yeah, it’s 2019 and queer-coding, queer-baiting, tokenism, and a whole host of negative stereotypes surrounding the queer community are still the order of the day.

Oh sure, we’ve seen a handful of decent examples in recent years, but by and large, those have come from independent films with no major backing and no wide release, many of which slip into obscurity–not for lack of trying on those filmmakers parts, mind you. I know a lot of those men and women out there busting their tails to get their films to a larger audience and I respect and applaud them for it.

At the same time, a large percentage of the queer people I know love horror films. It’s their preferred genre. So why is it that we can’t get a decent queer portrayal in the genre we love?

Right now some of our straight readers are wondering what the hell some of those terms I mentioned mean, and I promise we’re getting to that. First, though I would like for you, specifically, to imagine something for me.

Ready?

Imagine there’s a genre of movies you love. Let’s say, horror. You like the scares. You like the tension. Heck, you even like the villains!

Now imagine never seeing yourself, and by yourself I mean someone who looks and loves like you, on the screen in those movies. You never see a guy kiss a girl unless it’s a stunt. You never see a straight man or woman portrayed as a real person.

You are never the hero.

On occasion, there’s a character with traits that kind of, maybe, make you think they might be straight. You watch the way they walk, their mannerisms, the way that they express themselves, and your heart races because “oh-my-god, I think they’re really straight but the filmmaker just didn’t come out and say it.”

Most of the time, that character is the villain.

Take it further and imagine that you’ve been hearing about this horror movie where–gasp!–there’s an actual straight character in the film! You rush out to the theater; you’re invested in this movie and even more in the character. They are, finally, revealed to be straight! Then they die 2.5 seconds later, or worse they become a stereotype of who straight people are.

If you can imagine, fully, that world I’m describing, then you’re beginning to understand why countless queer genre fans get frustrated with the movies and the people making them.

Now, lets get started with the first of those terms I mentioned before.

Tokenism

Tokenism is defined in the dictionary as “the practice of making only a perfunctory or symbolic effort to do a particular thing, especially by recruiting a small number of people from underrepresented groups in order to give the appearance of sexual or racial equality.”

This practice, especially in the U.S. grew out of a response to desegregation laws wherein an employer would hire one black employee for a basic, low-wage job in order to give the appearance that they were acting in accordance with the law.

This one happens a lot not only with queer characters but also with a multitude of racial minorities on the screen in the genre.

It’s easy to spot a token character. You look for, generally, the one out and proud queer character on screen who is obviously going through the process of coming out and having some kind of feelings about it. You might, but probably don’t, give them long enough to be an established part of the group. Then you kill them.

Sometimes, the writers of these films will even go so far as to try to trick you into believing that what you’re seeing isn’t a token character–they’re getting better at this.

Let’s take, for example, 2018’s Truth or Dare. The film centers on a group of college students who find themselves on the bad side of the world’s most cursed game of truth or dare.

One of those students is a young man by the name of Brad Chang, and he just happens to be gay. That’s right! Not only is he gay, but he’s also Asian! I’m checking off boxes already!

Things start off pretty great, actually. Brad’s out; his friends are supportive. He’s just one of the gang. In fact, the only person who doesn’t know about Brad is his police officer dad.

Now, this whole game is all about exposing your deepest, darkest secrets, so naturally, before this is all over, Brad finds himself having to out himself to his dad, which he does off screen. I watched with relief as Brad comes back and tells his friends that his dad took the news well.

They almost had me.

Brad gets a new dare: Take your father’s sidearm and force him to beg for his life.

Naturally, we had to take what is honestly one of the hardest things we do as queer people and heighten it, and the writers felt like we needed to dig into that wound all over again.

There’s no way that father and son had time to emotionally process what Brad coming out meant to them. We know this because as Brad holds his father at gunpoint, his father tells him, “I’m sorry for how hard I’ve been on you. I guess you think I deserve this.”

What else was he going to think when his son who just came out to him pulls a gun on him? Before anything can be resolved, Brad is shot down by another officer.

I hear you saying, so many people are dying in this movie. Why does this one matter?

It matters because his death was inherently tied up in his sexuality. It matters because he was the only queer character in the film, and it matters for one more reason, which is tied up in the rules of the game.

You see if you were dared you had to do the dare. If you chose truth, you had to tell the whole truth. Failing to follow through brings death. Everyone else who did this survived. Every single one. Not Brad.

Brad died while doing what he was supposed to be doing, and while you might think it’s nitpicking the film’s logic, for most of us in the queer community or any other marginalized group, there is a ringing truth here.

We can do everything that is asked of us. We can follow the rules just like those outside the community, and it still isn’t good enough to appease those that don’t want us seen at all.

In a recent interview with queer filmmaker named Sam Wineman which we posted yesterday, he told me this, “People ask all the time when it’s okay to kill queer characters in horror films. I feel like the answer is when we start letting them live.”

I know I’ve spent a lot of time on this particular film. Some of you probably stopped reading long ago, but for those who have stuck it out, this is just one recent example of tokenism. I’m sure, if you put your mind to it, you could come up with others. Go back up and read that definition from earlier.

Now think on this:

How many times have you seen the fetishized lesbian who serves no purpose beyond titillating the male demographic and adding to the body count?

How many times have you seen the over-the-top gay man who checks off every single stereotype box you can think of and dies because he doesn’t know how to fight?

How many times have you seen a queer character was was introduced into the film and died less than ten minutes later?

Now go back, put the shoe on the other foot, and imagine if everything I listed here was about you.

Part two of this three part series of articles will be coming in a couple of days. Until then, stay scary and Happy Pride!

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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