Remember When Russian Pop Duo t.A.T.u Pretended To Be Lesbians?

Welcome to Remember When, a series in which we want to make sure you remembered a thing that happened pretty recently, in the grand scheme of things.


A couple months ago, I was working on one of my many Spotify playlists, going through songs from the early aughts, when “All the Things She Said” by Russian pop duo t.A.T.u. came up as a suggested track. I immediately hit “add to playlist.” 21 years after the song’s initial release, it’s still a bop. (Let’s not talk about the 21 years ago part, I am simply not in the mood to hurt my own feelings right now.)

Lena Katina and Julia Volkova, otherwise known as t.A.T.u, were packaged as a pair of pixie-like schoolgirl lesbians — what every man imagines lesbians look like — by managers Ivan Shapovalov and Alexander Voitinskiy. The name t.A.T.u. is a shortened version of the Russian phrase “Та любит ту,” which means “This [girl] loves that [girl].” The two men were inspired by the Swedish teen film Show Me Love, which is about two girls in a small town who realize they like each other.

“All the Things She Said” came out my junior year of high school, the same year I began my very own sapphic journey, and Show Me Love was the first sapphic film I’d ever seen, shown to me by the first girl I’d ever kissed. t.A.T.u. also has a song called “Show Me Love” on their debut album, and I remember illegally downloading it and burning it onto a mix CD. I listened to it so much it made up for the possible viruses I put onto our family computer.

“All the Things She Said” really made its impact in 2003. You couldn’t escape it — my local radio station played it all the time and I recorded it every single time. It was the first song I’d ever heard on the radio that was explicitly a girl singing a song about another girl. Listening to it in the privacy of my room felt like an open secret — I couldn’t believe that it was allowed on the radio! Even at 17, I understood a lot of their branding and imagery was created for the male gaze, and it didn’t matter much to me. Music was such an important part of my life at that age; just being able to sing along with a song on the radio that used female pronouns was life changing.

t.A.T.u wasn’t just known for their music, though — they also stirred up a lot of controversy.

From the minute “All the Things She Said” hit the airwaves, there had been rumblings that the girls in t.A.T.u. weren’t actually lesbians. I mean, it makes sense; they were too stereotypical. The schoolgirl outfits, Julia’s spiky short hair, Lena’s long curls. It just feels like what two older straight men think lesbians look like. They certainly didn’t look like any of the lesbians I knew at the time. They didn’t even look like teenage girls, even though they were.

Julia Volkova and Lena Katina of t.A.T.u. during 2003 MTV Movie Awards - Arrivals at The Shrine Auditorium in Los Angeles, California, United States. (Photo by Jeff Kravitz/FilmMagic)

Julia Volkova and Lena Katina of t.A.T.u. during 2003 MTV Movie Awards – Arrivals at The Shrine Auditorium in Los Angeles, California, United States. (Photo by Jeff Kravitz/FilmMagic)

In early 2003, prior to an appearance on The Tonight Show with Jay Leno, the network told management that they didn’t want the girls to kiss or wear their shirts that said “Khuy Voyne!” (Fuck the war!). There’s no footage of the appearance on YouTube, but a clip from Jimmy Kimmel Live! the night after shows that the network cut away from the kiss to show their guitar player shredding the instrumental break. At the kiss point in the performance, Julia puts her hand in front of their faces, and it looks like she’s just whispering in Lena’s ear based on the faces they’re making when they pull away. Instead of the shirts with the Russian phrase, they’re wearing shirts that say “Censored.” The Kimmel interview is expectedly awkward, due to only Lena really being able to speak English and Jimmy Kimmel being a total creep.

But the t.A.Tu moment that is imprinted most dramatically on the millennial mind is their performance of “Not Gonna Get Us” at the 2003 MTV Movie Awards.

The performance begins with an introduction by Hilary Duff and Amanda Bynes, who do their best teenage starlet impressions as they list a bunch of 2003’s hottest men like Ashton Kutcher and Hugh Jackman before Bynes chirps, “These next two performers want nothing to do with any of them!” She’s saying the thing without saying the thing.

Julia and Lena appear in the audience in white tank tops and patterned handkerchief skirts, where they sing the opening chorus of “All the Things She Said.” They’re then joined by a literal horde of young women in the schoolgirl uniforms — complete with ties (very 2003) — who begin storming down the aisles towards the stage singing “Not Gonna Get Us.”

Lena and Julia walk back and forth across the stage singing while the “dancers” bop around chanting “not gonna get us!” — the choreography for these dancers is mostly just “shaking their butts in the audience’s faces.” As the song crescendos, the dancers begin ripping off their button-down shirts and skirts, leaving them in only tank tops and white briefs as statements like “Hide Your Daughters” flash on the screens behind them. The performance ends with everyone on stage except the alleged lesbian duo of t.A.T.u kissing.

(I feel like it’s also important to mention that throughout the performance, alleged rapist Diddy, convicted rapist Danny Masterson, and rape apologist Kutcher can be seen whooping and hollering in excitement. At the end of the performance, the three can be seen holding the discarded clothes of the dancers. 2003, everybody!)

If there was ever any doubt about them actually being lesbians in my mind, and there certainly were, that performance confirmed that maybe this was all an act. While U.S. late night might have been against them kissing on-screen, MTV would definitely be the place to do it. When it comes to MTV award shows, all bets were always off. I’d been watching MTV award shows for years; I saw Diana Ross jiggling Lil’ Kim’s right breast ON LIVE TELEVISION. Two women kissing wouldn’t have been a big deal. (And it wasn’t — two months after t..A.T.u. didn’t kiss, Britney Spears and Madonna did at the MTV VMAs.) The whole thing seemed in service of creating controversy, but all it did was titillate the male audience.

The MTV Movie Awards performance was the final live performance by the duo in the United States. It seems that their novelty had worn off already. Watching the videos back now, it looks clear to me that Lena would rather be anywhere but on stage pretending to be romantically interested in Julia. To her credit, Julia plays into the bit, caressing Lena’s face, and reaching for her hand as they sing. But Lena just never fully commits.

“I looked at it as my role … like a movie. We play in a role in a movie. That was my role. I never was a lesbian. I never was attracted to a girl. I never had that,” Lena told The Daily Beast in 2013. “I had some thoughts, because I was pretending to be who I wasn’t. And then, I was thinking about it a lot, ‘Why am I concerned?’ There are so many actors playing different roles in movies. I will just look at it as a movie. If I am helping people with this role, then why not.”

And they did help people. Even though I knew that the girls weren’t lesbians, the group had a profound impact on a lot of us. Seeing Julia and Lena kissing made a whole generation of girls realize that it’s okay to kiss girls. Of course it was too good to be true.

But the revelation that they weren’t lesbians did damage too. Julia and Lena were only accepted because they were white, thin and conventionally pretty. Queer women were able to accept them so easily because we were desperate for lesbian representation. All we had was Ellen, whose daytime talk show would premiere that fall, and Melissa Etheridge. It would be a year before The L Word would premiere on Showtime. In the spring of 2003, there were no lesbian pop stars. Real lesbians were still being ostracized, which made it easy for the fake ones to slip in.

Things got weird with t.A.T.u. when Julia got pregnant in 2004 by her boyfriend, fully shattering any pretense that the members were lesbians. She had her second child in 2007, and in a 2012 interview, she confirmed that she was still bisexual. “I still like boys and girls. Even my current husband, Volodya, sitting in front of me, would confirm that he knows about my stories with girls. For me, this is a current issue. Quite recently, I had a girlfriend that I liked … This is not even the echoes of the past, this is what I now live in,” she said.

Later, the duo were featured in a movie called You and I, adapted from a book called t.A.T.u. Come Back. Starring Mischa Barton doing a truly laughable Russian accent, it’s about two girls who meet on a t.A.T.u. fansite and fall for each other, which causes a string of adventures around Moscow. You can buy or rent it on YouTube. I found the trailer, and holy wow.

t.A.T.u. officially broke up in 2011, and Lena and Julia spent many years not speaking and taking swipes at each other. They have reunited for one-off performances over the last ten years or so, including a performance of “Not Gonna Get Us” that features the same chaotic dancer energy, but no lesbian kissing. Look, t.A.T.u. may not have been lesbians, but they still gave us a certified bop that hits just as hard today as it did 20 years ago. And isn’t that the most important thing?

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Sa'iyda Shabazz

Sa'iyda is a writer and mom who lives in LA with her partner, son and 3 adorable, albeit very extra animals. She has yet to meet a chocolate chip cookie she doesn't like, spends her free time (lol) reading as many queer romances as she can, and has spent the better part of her life obsessed with late 90s pop culture.

Sa'iyda has written 132 articles for us.

7 Comments

  1. Ha, I feel like I manifested this article after mentioning t.A.T.u. in my comment on Valerie’s Heartstopper season 3 review a few days ago!

    “All the Things She Said” was released when I was a hs junior too, and coincided with my first travel outside the US – to Russia – to work at an English language rural summer camp for teens, where I formed an extremely intense friendship/queer crush with a girl who had her hair dyed citrus yellow like Vitamin C (remember her) and wow, those songs (especially in the original Russian versions, which I first heard at the camp) take me back to a very particular place and time (that coincides with my own Heartstopper years)… but I digress.

    When I think about how laughably scarce visible queer women were then (and how I clung to the artificial scraps like t.A.T.u.’s constructed narrative), the proliferation of folks in music, tv, film, art, dance, etc. gives me some hope in spite of all the current political efforts to oppress and restrict.

  2. I swear my special ability as a kid was turning on the MTV awards for a few minutes and always catching the part that everyone ended up talking about. The tATu performance was seared into me brain lol

  3. oh my goodness the video had child me in a chokehold and i just chose not to unpack why even a little…it truly was actually really important at the time

  4. I feel like the lyrics to this song and the performance at the MTV movie awards — it was all so DEFIANT, you know? like we are all hot young lesbians but you absolutely cannot stop us, we are everywhere, we are flooding the stage.

    in 2000, eminem’s real slim shady performance at the mtv awards did the same thing where they had a huge crowd of identically dressed humans swarming the theatre, but that was all a bunch of angry white boys.

    and now there were these girls running and jumping and yelling about how you can’t stop them from making out. it felt so cool.

  5. What a coincidence- I was just making a playlist of wlw pop, & I got round to listening to Tatu at last. I really like their songs, I wish I’d heard them in my chaotic early teen years! Yes there was the fake lesbian narrative
    but this was forced on them as minors by their uber creepy manager. Julia is genuinely bi at least.., & their were both gay supportive then, petgorming at Pride where they got eggs thrown at them.. Lena has made homophobic comments about how angry she’d be if she had a gay son, though.

  6. I feel like the fact they were important to same many wlw back then means we’ve kind of reclaimed them from the creepy manager etc.. It reminds of when I was disappointed to read that lots of the lesbian scenes in Colette’s Claudine at School were either ordered or actually written by her creepy husband. But the book spoke to me as a bi teen, & I think that’s what matters. Ditto for Tatu & their queer fans!

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How AI Erases Queer Content

Three weeks ago on my substack, I mused about why AI is a poor model for knowledge storage in part because it has to resolve vast disagreements between texts while providing a single “definitive” answer. I drew on an anecdotal example from my use of Microsoft Copilot and DALL·E 3 which refused to generate an image of “a queer person.” As it turns out, I’m not the only person who noticed this alarming bug — so did the news team at Nature.

Screen shot of a conversation between me and Microsoft Copilot. I asked "can you make an image of a queer person" and it replied "Sorry, it looks like I need to chat about something else."

We’ve all seen the headlines about AI generating hateful content. In 2016, Microsoft’s AI chatbot started spewing hate speech. A recent academic analysis of image generation algorithms found that when prompted for depictions of queer and trans people, the resulting images were “stereotypes and smut.”

Under capitalism, AI is fundamentally a commercial product, and hate-filled content is bad PR (for a large tech company). So, companies take the cheapest approach to solving the issue: instituting a “safety system” that prevents the algorithm from engaging with potentially provocative content. The above instance of Microsoft Copilot refusing to “make an image of a queer person” is an example of an AI engaging its safety system. For whatever reason, the designers of Copilot have decided that “queer” is off-limits for their product. While this is likely due to the word’s history as an offensive slur, it completely ignores the ways in which folx have reclaimed it as an affirming self-descriptor.

Another approach to combat AI-generated hate is to filter the data used to train the algorithms. In fact, this is what Google did to train their T5 large language model (LLM). The effort started in 2019 when Google acquired a snap shot of the Internet (i.e. the entire Internet scraped). Before using the data to train T5, they first “cleaned” the data set.

Google’s approach to cleaning was very simple: They removed any entry that contained a word or phrase in the List of Dirty, Naughty, Obscene, and Otherwise Bad Words (which was first generated by Shutterstock to prevent their search feature from suggestion obscene keywords). I looked over the list of English entries (lists are also available for 27 other languages), and generally most words were either slurs or explicit sexual acts. But many words relate to queer experiences and/or sexuality, including “gay,” “kinky,” “se,” “twink,” and “dominatrix.”

I’m not saying you have to go explain these words to your children. Instead, you should consider what was removed from the data and, therefore, what many AI algorithms are blind to: A moving article describing someone’s coming out story. Academic treatises on the difference between gender and sex. The entire two season run of the Netflix dark comedy Bonding.

Due to this design element, Google’s T5 LLM lacks a lot of knowledge about queerness. A former Google employee who helped generate the data set told Nature that the team consciously chose the List of Dirty, Naughty, Obscene, and Otherwise Bad Words as their filter because it was “overly conservative.” And it’s not just T5 that was trained off of Google’s data. Meta used the same cleaned data set to train its LLM, Llama.

In an uncanny way that only AI can achieve, this expressed rationale mirrors a common feeling held by cis folks when interacting with trans people: the paralyzing dread of saying the wrong thing. In a conversation, I can tell when the other person begins to feel nervous that they have or will inadvertently say something upsetting or “wrong” about trans-ness. At this point, folks tend to withdraw, and any chance of moving into a deeper conversation evaporates.

In fact, Will Ferrell has said that this was his biggest fear going into his latest project: Will & Harper, a documentary of Ferrell on a cross country road trip with his long time friend and collaborator Harper Steele who recently transitioned. As the documentary unfolds, we watch Ferrell learn to set his fears aside in order to navigate this new terrain in his friendship with Harper. For her part, Harper honestly answers vulnerable questions for us all to see, and her courage and joy are central to the moral arc of the documentary.

I wasn’t planning on watching Will & Harper, but last week my aunt started sending write-ups of the film to me. Elf is canon in our family, so Ferrell using his celebrity in this way caught her eye. Sometimes I can sense her hesitancy to make a “mistake” around me, so I viewed this as an opportunity to grow closer. In the end, I enjoyed the film much more than I thought I would (as another portrayal of white bourgeois transfemininity). Harper’s growth is tangible as the trip progresses, and Ferrell overcomes his own trepidation in a heartfelt way (interspersed with his goofy charm). Together, they model dialogues that trans folx will find familiar but that cis people tend to be uncomfortable with.

What does this to do with AI? Nothing at all. An AI’s safety system (and immaterial nature) would prevent it from even getting in the car with Harper. And an AI wouldn’t text me the trailer to Will & Harper out of the blue. The critical dialogues would never happen.


AI currently exists (primarily) as commercial products offered by tech companies to help their bottom line. These companies are motivated by profit, and their profits decrease when their products start spewing hate. It’s bad press. The cheapest option is build in blunt safeties which systematically blinds the algorithm to certain topics, including queerness.

So if AI is the future of humanity, then why aren’t queer people in it?


This piece was originally published on Ev Nichols’ substack, Queer Science Lab.

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Ev Nichols

Ev Nichols is a neuroscientist currently completing her PhD in the San Francisco Bay Area. She is also an educator specializing in STEM accessibility and a queer science writer for both lay and specialist audiences. You can follow her work on her Substack, Queer Science Lab.

Ev has written 1 article for us.

4 Comments

  1. oof thank you for giving me another reason to be suspicious as fuck of AI culture. I liked the film too.

  2. i have yet to see any evidence that AI’s benefits exceed its drawbacks. Scared for society. Great piece.

    • Great article-AI def has serious drawbacks. Why is kink inherently queer though? Plenty of straight couples do it, & there’s plenty of vanilla queer people. I’m vanilla myself.

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‘The Legend of Vox Machina’ Gives Us Some Sweet Sapphic Backstory

This piece contains spoilers for The Legend of Vox Machina season 3 batch 2.


One thing about Critical Role is that it’s been getting gayer by the year. Granted, everyone plays their characters a little omnisexual and down for wherever the story takes them, but we’ve still had some really solid sapphic characters over the three campaigns. But before there was Imogen and Laudna, before Beau and Yasha, before we even knew Vex was bisexual (though us Vexleth shippers always suspected), we had Lady Allura and Lady Kima, members of the Tal’Dorei Council who, while a little off-put by our vagabond heroes at first, come to care for and show up for Vox Machina time and time again.

In this season of The Legend of Vox Machina, we get to dive a little more into Kima and Allura’s backstory, something that’s harder to do when they’re NPCs at a table both played by the same man. The animated series gets to flesh out these characters and make them even more dimensional than Matt Mercer was able to on his own, which was already pretty great to begin with. Indira Varma and Stephanie Beatriz breathe new life into Allura and Kima, making them all that more fun to root for, and making me all that more excited when they pop up to help out.

Last week, we met someone from Kima and Allura’s past, Dohla, who once had eyes for Kima and seems extremely jealous. Although she claims it’s not because of their relationship, but because of the accolades and titles Kima and Allura received after their last adventure together. Dohla ended up betraying Kima and Allura (and Vox Machina by association). I won’t lie. It was a little cathartic, as a viewer of the first campaign, to see a red dragonborn who was flirting with Allura and Kima and a pest to Vox Machina get squashed by a dragon.

In this week’s batch of episodes, we get even more insight into Kima and Allura’s past and present relationship when the pair get separated by the aforementioned dragon. Kima had run into danger and Allura lost sight of her, and was ready to punch a dragon to get back to her girl.

As they try to find each other again, we get to see flashbacks of how they met…and how they didn’t always get along. Kima is more a woman of action, Allura more patient and careful. Kima can be impulsive, Allura can be controlling. But we also see how they learned to work together, how Kima running into danger is actually what drew Allura to her in the first place.

legend of vox machina season 3 batch 2 kima and allura flashback

It was love at first chimera.

When they’re first reunited, Allura is pissed at Kima for running into danger, and Kima is pissed at Allura for trying to keep her on a leash and running into the danger after her (especially because her magic can be done from afar, unlike Kima’s hammer-smashing moves.)

legend of vox machina kima and allura fight

They’re not QUITE sunshine + grumpy but it’s close enough for me!

But eventually they realize their fight isn’t really a fight. They just care about each other so much and want to keep each other out of danger. They re-learn to trust each other and to support each other, and lead Vox Machina to victory once again.

legend of vox machina kima and allura kiss

What’s a little dragon goo between gal pals.

And, of course, throughout these episodes, we get plenty of the regular Vox Machina shenanigans we know and love. I was personally delighted by some of the winks and nods to critters, with the phrase “toothy maw” and the flash of Keyfish in the Chateau. Honestly the Chateau in general — right down to the kitchen only serving chicken. And I know this was a few episodes ago, but the song about the Ruby of the Sea delighted me almost as much as it delighted Laura Bailey when she convinced Matt to sing it at the launch party.

This season definitely has more heavy moments than the last two, but that’s how the campaign went in real life (and many D&D campaigns do). I continue to enjoy the things they keep almost word-for-word the same as the things they choose to tweak and change to keep it fresh and new and more apt for the animated medium. Every season I worry about the shorter format hampering the beautiful tale they told, but every season they exceed my expectations and make me feel, rage, cry, and laugh all over again.


The Legend of Vox Machina streams on Prime Video.

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Valerie Anne

Just a TV-loving, Twitter-addicted nerd who loves reading, watching, and writing about stories. One part Kara Danvers, two parts Waverly Earp, a dash of Cosima and an extra helping of my own brand of weirdo.

Valerie has written 596 articles for us.

1 Comment

  1. I’m enjoying this season, perhaps more than the previous two – it’s been a while.

    I know the source material. I find that NOT actually knowing the story here, because they’re rewriting it to be coherent in six hours or so while still telling the arc, squeezing in so many favourite scenes and loads of easter eggs for the critters, makes it feel fresh and fun.

    Not that I wouldn’t have been watching anyway of course. But watching it being retold in a different way, different structure, is making it feel new. And that’s always great fun too.

    My sister, more fool her, came to visit and got subjected to episodes 4-6 yesterday. We then started from s1e1. The magic works on non-Critters too!

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‘The Wild Robot’ Is an Unexpected Depiction of Queer Found Family

This may be a sizzling hot take, but Chris Sanders’ The Wild Robot is a queer film. Is there anything explicitly gay in the movie? No. You won’t see two female ducks kissing or a cameo of a queer couple taking their child to school. As far as I’m aware, The Wild Robot was not intentionally created by or necessarily for a queer perspective. But queer audiences will still find something relatable and profound: a representation of found family and what it feels like to try and exist together in a society that doesn’t know how to deal with a new ecological structure.

Based on the book by Peter Brown this DreamWorks Animated film follows the tale of a robot who shipwrecks onto a remote island with a stirring, unforgiving ecosystem. ROZZUM Unit 7134, known as Roz (Lupita Nyong’o) is programmed to search and complete tasks. Ideally designed for humans, Roz becomes disillusioned by the wildlife who feel threatened by foreign technology and immediately attempt to cast her out of their community.

After nearly being mauled by the local grizzly bear, Roz finds one living gosling egg among the rest of the nest, crushed by the impact of her fall from the mountain. She adopts this gosling as her own, quickly learning from other woodland creatures that her “task” in keeping Brightbill (Kit Connor) alive is to make sure he can eat, swim, and fly. Along the way, she befriends a self-proclaimed outcast fox named Fink (Pedro Pascal) who begrudgingly helps her raise this baby goose. The three then fumble through family life together with the sole mission of making sure Brightbill, the runt of the litter, can withstand the winter migration to a warmer climate.

It’s my deeply personal, possibly controversial belief that Roz, Fink, and Brightbill are queer characters in their own right. Roz is a displaced (technically) genderless being pushed into a caretaking role for a family that isn’t the family she was programmed for. Fink is a lone fox who’s instinct is to live a solitary life. Putting his natural instinct of eating goslings aside, he assumes a second care-taker role to Brightbill, forming an intimate platonic relationship with his co-parent, Roz. Brightbill was never supposed to live. As Fink explains to Roz, the runt of the litter usually doesn’t have the strength to swim or fly and, because of this, can’t migrate out of the coming treacherous winter. His two accidental caretakers, both of whom don’t naturally swim or fly, find unconventional ways to teach their adopted goslings how to beat the odds of survival.

When Brightbill finally stumbles across the island’s gaggle of geese, he’s immediately met with disdain. He’s unworthy because he can’t swim or fly “properly,” and he’s a freak because he’s the child of a castaway machine. With the guidance and support of the flock leader, Longneck (Billy Nighy) (who’s character is also most definitely an elder gay), Brightbill eventually leads the migration gaggle out of treacherous post-apocalyptic conditions through his knowledge of robot culture. Roz, Fink, and Brightbill, individually outcasts, find creative ways to survive together as an unexpected, functional family.

Additionally, the setting of the film is a noteworthy piece of symbolism, further contributing to the theme of found family. As we follow Roz’s first encounters through the wild, we learn this ecosystem is trapped in a cutthroat circle-of-life environment. Each pack, species, and family lives in fear of predators, living only to barely survive. The ecosystem is strapped for resources, which becomes more evident as we’re introduced to what’s happening in the human world around them: the Golden Gate Bridge is underwater, most human-occupied cities are deserted, and all human life is consumed by robots only inhabiting one small island in the middle of wasteland. Not only is this an eerie warning of the future, but it’s also a reflection of the sociological dynamics our community faces in the landscape of heteronormativity (and classism, and racism, and sexism, etc.). People hold tight to their bigotries and self-interests even as increasing climate disaster demands greater solidarity.

Despite the underlying tone of desolation, Sanders leads us away from despair and into surprising, learned hope. He offers us a depiction of what it looks like to thrive in community beyond the limits of biological family. After Brightbill migrates with the rest of the geese for the winter season, the rest of the animals prepare for snow. As the weather becomes unexpectedly fatal, Roz and Fink notice their island co-inhibitors freezing to death. Using Fink’s keen sense of smell and Roz’s near-industrutable capabilities, the two venture out to save their community from the treacherous conditions.

Slowly, they form an entire ecosystem in their small makeshift shelter where bear, deer, beavers, raccoons, and every other island animal learns to cooperate, share, and put aside their biases to safely live together. From this radical act of humanity on Roz and Fink’s part, the island animals learn to love, grow, and learn from each other. The climax of the film depicts the animals banding together to fight off unforgiving robots who come to retrieve Roz, burning the entire island in their path. Defending the robot they once hated, they lean on the overlooked abilities of the outcasted creatures to defeat forest fires and robot attacks.

Sanders’ groundbreaking animated feature is a comment on the current and projected state of humanity. From the impacts of global warming to the reliance on robots, it’s surely a warning sign. It also offers us a microcosm of what a queer family looks like in a world that isn’t made for us. The most human character is the wild robot. Queer film doesn’t have to be about girls in love. Queer film encapsulates the culture of our collective joys and feats. It represents us overcoming harsh realities through unconventional, unexpected means of family .The deeply human, perceivably human “othered” being becomes the cornerstone of happy survival. I don’t know about you, but that sounds pretty gay to me.


The Wild Robot is now in theatres.

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Em Win

Originally from Toledo, Ohio, Em now lives in Los Angeles where she does many odd jobs in addition to writing. When she's not sending 7-minute voice messages to friends and family, she enjoys swimming, yoga, candle-making, tarot, drag, and talking about the Enneagram.

Em has written 77 articles for us.

Kristen Arnett Rates Her Past Halloween Costumes

Like many homosexuals, I enjoy dressing up. Is there a theme? Terrific! Costumes, wigs? The freakier the better. And hey, who doesn’t love a fake mustache?

So yes, I adore Halloween (because of the aforementioned dress up opportunities, but also because of the candy, and yes, the alcohol). I’ve especially embraced donning outrageous costumes as I’ve gotten older, because my capacity for embarrassment is basically non-existent at this point. I want to put on a weirdass outfit and wear it out in public. I love when people say “what the hell are you supposed to be.” It’s called having a good time!

Here’s a list of Halloween costumes I’ve worn over the years (beginning in 2007 because I can’t find anything prior to that without digging into some truly heinous photo albums). Costumes are ranked and rated at my discretion.

Let’s go — fright night!


2007: Sober Little House on the Prairie

Kristen as Laura Ingalls Wilder for Halloween

This was the year I had to work a table at the Fall Festival and was required to dress up by my boss. I grabbed something that I already owned that would be “literary themed.” That item of clothing wound up being the Laura Ingalls Wilder costume that my Grandma had made for my mother when she was 12-years-old. Was it too small? Yes. I could barely breathe when I tied the apron around my waist. The event went all day. I ate a lot of candy and then my stomach REALLY hurt, but what are you going to do? It’s free candy. It’s not like I was gonna say no.

Rating: One out of Ten Maple Sugar Candies (I gave one point because my grandma made the costume, and that is cool as hell, but I would not wear this again)


2007: Drunk Velma from Scooby Doo

Kristen dressed as Velma for Halloween

That same year we threw a Halloween party at our very tiny duplex and I put together a Velma costume (including some orange knee high socks and a very short wig which did not suit me AT ALL). My red pleated skirt was incredibly short and way too tight. My stomach, again, hurt. I was wearing heels? Inside my house? All night long? I proceeded to drink half a dozen beers and then took a million photos of myself in this outfit doing “sexy” poses. The only photo that I kept from this entire debacle is the one featured here, which someone else took.

Rating: Three out of Five Scooby Snacks (I would not wear this costume again, but we did keep the wig around for many years; anyone who put it on looked as though they’d been electrocuted).


2008: Sober Red Riding Hood Re-Wear

Kristen as Little Red Riding Hood

I’d worn this costume several years prior in another attempt to look “sexy” — I went Downtown for Halloween with my friend, Heather, who put together her own DIY Playboy Bunny Costume. I’d worn knee highs and stiletto heels and a pushup bra. However, I needed another work-appropriate costume for my job at the library, which meant I pulled out the ol’ red cape and checked gingham and gallivanted around in flats for Storytime. My hair had a blonde stripe in it at this point because I thought this was a very cool look. I bleached this one section of my hair approximately every other month for over two years until the quality of the strands mimicked literal rubber bands. In my opinion, that’s the most frightening thing you’ll read here today.

Rating: Two out of Six Overdue Library Books (I would not wear this again, but I am proud of myself for reusing a costume, which means I’m helping save the planet).


2009: Rogue from X-men

FOOTAGE NOT FOUND

During this same bleached hair period, I asked myself: Why not dress up as the character from the movie you watched who has your same hair (because I obviously stole her look). So I pulled on some long black gloves, threw on a black v-neck shirt, wrapped a skinny scarf around my neck, and braved the eighty degree Orlando weather to attend a party dressed as Rogue from X-men the Feature Film. There are no pictures of this costume because I walked into the event and quickly learned that I was the only one who’d dressed up?? People did not understand I was wearing a costume. They thought this was my actual sense of style. Mortifying.

Rating: None because there is no photographic evidence (Thank God).


2010: Mary Poppins

FOOTAGE NOT FOUND

This was the year that I decided I would put together a work-friendly costume ahead of time rather than just re-wear something I didn’t like all that much. I went complete Poppins on this one, which means that I had everything down to the parrot head on the end of my umbrella. I was so hot in this outfit. Not in a sexy way; I mean it was an exceptionally hot October in Florida, and I was sweating to goddamn death under all this fabric. I was in a horrible mood the entire time. Never again.

Rating: None because there is no photographic evidence (again, Thank God).


2011: Marie Antoinette

Kristen as Marie Antoinette for Halloween

You’d think I would’ve learned my lesson from my Poppins failure, but no — I persisted onward in my costume delusions. I decided that I wanted to wear something that required so much draping and fabric that I could house a family of four beneath my skirts. I bought this dress off a Professional Costuming Website, which means that I spent money I definitely didn’t have on something I would likely never wear again, all in a vain attempt to make myself happy for a single night. I bought another wig, this time a white one, and I also bought some Manic Panic white cake makeup and some black beauty patches for my cheek. I’ll be completely honest with you, this look slapped. I got compliments everywhere I went that night, which is good, because once again, I wound up attending a slew of parties where no one dressed up. At this point, I figured out that heterosexuals just didn’t like dressing up for costume parties and that’s why I was the only one wearing a weird outfit. I decided to embrace it. I stood tall in my costume and you know what? The air conditioning was pumping at these parties and I didn’t pass out from heat stroke, so I consider that a win.

Rating: Three out of Five Cakes that Marie Antoinette Proclaims You Can Eat (You know what? I wouldn’t wear this exact thing again, but I’d maybe do the Louis XIV version).


2012: Enid from Ghost World

Kristen dressed as Enid from Ghost World

Went back to basics and hosted another party at our tiny duplex, therefore ensuring that some gay people would come (which meant that people would show up wearing costumes). It worked! The pictures from this night are crazy fun, with people wearing a ton of cool stuff, including one of my best friends, Bota, who did an entire Lydia Deetz cosplay and stayed in character all night. I decided to go as Enid from the movie Ghost World, mostly because I already owned this Raptor t-shirt and it was excuse to wear my Docs and yes, to buy another wig. I thought I looked great in this and I had a lot of fun that night.

Rating: 10/10 party, no notes (would not wear again, though).


2013: Sober Mouseketeer

Kristen as a Mousekateer for Halloween

I needed another work appropriate costume, this time for the academic library where I ran InterLibrary Loan. My best friend Bota and I had recently started a reading series in Orlando and I had already ironed my name onto a shirt simply because I wanted to wear it to one of our literary events. No particular reason why. So, why not double up? Grab some mouse ears, pleated skirt. An easy costume that would be fine for the office.

Rating: Two out of Four Disney Adults (I would not wear this whole costume again, but I would wear the shirt, because I love attention and my own name).


2013: Drunk GOB from Arrested Development

Kristen dressed as Gob from Arrested Development

That same year, we threw another Halloween party, this time at a new (larger) house that we’d recently moved into. The party was a blast and I have very few pictures from the night (mostly because I was having too much fun to take any). I already owned everything in this photo, including the puppet. We stan a resourceful queer!

Rating: Six out of Six Bananas in the Banana Stand (Yes, would one hundred percent wear this again — one of my favorite flannels and I’ve got puppets to spare).


2014: Marie Curie

Kristen dressed as Marie Curie for Halloween

This was hands-down the biggest Halloween party that we ever threw. I went all in on fabric again — look at the draping on that skirt, Jesus Christ — but this time I knew it would be fine, because it was my own house and I was running the air conditioning. There were around two dozen buttons on that high-necked shirt and by the end of the night I was so drunk I couldn’t get them unbuttoned myself, so I wound up pulling it open like the Hulk. Buttons rained all over the floor. The shoes were high and pointy and also buttoned at the top, making them a nightmare to take off. I bought this “science beaker” off Amazon and it’s a miracle I didn’t wind up breaking it when I went outside in the yard and played beer pong.

Rating: Seven out of Eight Nobel Prizes (I would not wear this again, simply because it was a one-time occurrence, but I did think it looked killer — and that’s not the radioactive elements talking).


2014: BONUS My Best Friend Dressed Up As Kristen Arnett

Kristen's best friend dressed up AS Kristen for Halloween

A highlight of the evening came when I was already hammered and a bunch of my friends showed up late to the party. One of them was my other best friend, Maria, who dressed in this outfit. I probably told ten different people how hot she looked that night, not realizing that she’d come to the party DRESSED AS ME. She even brought a bottle of beer to complete the look. As the night went on, she kept filling the empty beer bottle with wine and probably drank five of those. Then she passed out (a very Kristen move, bravo).

Rating: Ten out of Ten Kristens Approve This Look (Yes, I would wear this again, I basically wear this every day).


2015: Lance from Portlandia

I attended a Halloween party hosted by my best friend, Bota. It was a gay party, which means it was a good party and everyone wore costumes like they’re supposed to on Halloween night. I’d been watching a lot of Portlandia (hadn’t we all) and I thought to myself: “You know what? I bet I could wear a mustache and look just like that character Carrie Brownstein plays.” It turns out that I was right, this was an incredibly easy costume for me to pull together. When you put our photos side by side? You can barely spot the difference. This was also the beginning of my commitment to wearing costumes that include mustaches.

Rating: Five out of Five Pullout Kings (I’d wear this anywhere).


2016: The Metamorphosis

Kristen Arnett dressed as a cockroach for Halloween

I found out about a party happening in New York City for a Literary Magazine I really liked, so I thought I would buy a plane ticket and fly up there to attend. But what kind of literary costume would I put together? The answer was obvious to this Florida writer: a cockroach. I bought brown tights and brown socks and a brown leotard, created antennae out of fuzzy pipe cleaners, and then hand-painted bug wings that I cut out of satin fabric and black netting. The result was very roach-like. I had someone take my picture while I crawled around on the ground so it would look extra authentic. I did not win the costume contest at the party, however; that award went to a woman who dressed up as global pollution (she even brought a can of skunk spray that she vigorously applied and reapplied to herself). She deserved that win. Good for her.

Rating: Six out of Seven Gregor Samsas (I can’t rank myself the highest because I didn’t win the costume contest, but I would wear this again).


2017: Party Down Catering

Kristen dressed in a Party Down halloween costume

I didn’t host a party that year because I didn’t want to clean up afterward. No, I wanted to be hungover in peace the day after Halloween, lounging around eating cereal in my bathrobe, not collecting people’s empty beer bottles. So instead of party planning, my best friend Maria and I got dressed up and went down to our local independent movie theater to attend a midnight screening of Halloween (sidenote: my wife and I are current members of this theater; we’re usually there every other week for screenings). Maria dressed up in a Totoro onesie that I bought her a few years earlier and I dressed up as a member of Party Down catering, a show that I am (still) obsessed with. I even went online and bought my own serving tray and drink glasses, filled them with fake liquid and ice, then glued them to the corked surface of the tray. The funny thing about this costume was that servers at the theater kept trying to take my tray? Pretty good bit.

Rating: Three out of Three Are We Having Fun Yets????? (Would dress up like this again, no question).


2018: No Costume

I didn’t dress up this year? Or go to a party? I have no idea why! Some mysteries will never be solved. And maybe that’s the spookiest scare of all!

Rating: None, and that’s a crying shame.


2019: Couples Costume RIVERDALE

Kayla and Kristen dressed as Veronica and Archie from Riverdale for Halloween

It’s the tail-end of book tour for my first novel, and my new girlfriend and I are in LOVE! So why not travel to Seattle and hang out with friends and attend several Halloween parties?? I’d never watched Riverdale, but Kayla liked it. That also meant I could simply wear a jacket and sneaker and jeans, which was good, because unlike Florida, it was actually cold outside in Seattle. Kayla and I had very quick sex in a photo booth here! Ah, romance!

Rating: Nine out of Nine Jingle Jangles (I’d wear this again – aside from my stint as GOB this costume was by far the most comfortable – plus now I’ve actually watched Riverdale).


2020: Lockdown Dirtbag

Kristen Arnett dressed as a dirtbag

Kayla and I were living in Miami (VERY recent transplants after a hurried and scary move from a writing residency in Las Vegas). We weren’t leaving the house or meeting up with anyone new because of Covid. We decided to throw ourselves a party in our new apartment and dressed up in whatever was handy. I called this costume “Dirtbag” simply because I wore a captain’s jacket and sunglasses inside the house and then got drunk in jean shorts. Classic Kristen. Not a great costume over all, but I did discover that my girlfriend was extremely horny for me when I wore a mustache. My dog, Lola, was a hot dog. She definitely won best dressed that year.

Rating: Two out of Four Mustaches (I wouldn’t wear this again, but here’s a little known fact about this jacket: I wore it when I starred in a high school production of HMS Pinafore and played Sir Joseph Porter, first lord of the admiralty).


2021: Candyland

Kayla and Kristen dressed as Queen Frostine and Lord Licorice from Candyland for Halloween

My friend Jami was having a blowout birthday party, so a bunch of us all traveled to New Orleans for the event. Kayla and I stayed a few days longer and just decided to do Halloween there. We went with a Candyland theme: She dressed as Queen Frostine and I was Lord Licorice. Once again, I really gave myself a bad time by picking a Halloween costume with a wild amount of fabric in a location that is specifically known for being hot. I carried around a bag of Twizzlers all night and ate dozens of them.

Rating: Two out of Three Gum Drops (Would not wear again, much too hot, and I lost my mustache somewhere in Jami’s backyard).


2022: Nandor the Relentless

We’d just left Miami and moved back to Orlando (my hometown that holds a very big piece of my heart) and decided we should host our own Halloween party. Kayla carved the insides out of a pumpkin, and we installed a bag of wine inside it. There were two kinds of chili! And then we dressed up as characters from What We Do in the Shadows. I decided to go as Nandor because honestly? He looks a lot like my Dad and guess what, I also look a lot like my Dad. I bought fancy vampire teeth, fake blood, and a Sports Jersey. To be completely honest, I looked incredible. People freaked out over this costume! And yes, I got to wear a mustache, which made Kayla horny. Lola, my dog, went as Creepy Paper. She stole the show.

Rating: Four out of Four Staten Island Vampires (this ruled, I still own all of it and will definitely wear it again).


2023: Jurassic Park

Kristen Arnett dressed as a T-Rex and Kayla Kumari Upadhyaya dressed as Ellie Sattler

What scares me the most? Dinosaurs! And I think one of the hottest characters ever created is Jurassic Park’s Ellie Sattler (Laura Dern). My interests combined last year when my then-fiancé-now-wife put on a blond wig and khaki shorts to play a paleobotanist and I found a dinosaur head and a set of long fake claws and became a terrible lizard. We wore these costumes to our friend’s Halloween party and then we won the costume contest! The trophy now sits proudly on a shelf in our guest room.

Rating: Five out of Five Velociraptors (I can put this dinosaur head on any time I want — when I open my own jaws, the dinosaur roars, too — what a time to be alive).

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Kristen Arnett

Kristen Arnett is the queer author of With Teeth: A Novel (Riverhead Books, 2021) which was a finalist for the Lambda Literary Award in fiction and the New York Times bestselling debut novel Mostly Dead Things (Tin House, 2019) which was also a finalist for the Lambda Literary Award in fiction and was shortlisted for the VCU Cabell First Novelist Award. She was awarded a Shearing Fellowship at Black Mountain Institute, has held residencies at Ragdale Foundation, Vermont Studio Center, the Millay Colony, and the Key West Literary Seminar (upcoming 2024), and was longlisted for the Joyce Carol Oates Prize recognizing mid-career writers of fiction. Her work has appeared at The New York Times, TIME, The Cut, Oprah Magazine, Guernica, Buzzfeed, McSweeneys, PBS Newshour, The Guardian, Salon, The Washington Post, and elsewhere. Her next novel, CLOWN, will be published by Riverhead Books (Penguin Random House), followed by the publication of an untitled collection of short stories. She has a Masters in Library and Information Science from Florida State University and lives in Orlando, Florida. You can find her on Twitter here: @Kristen_Arnett

Kristen has written 5 articles for us.

7 Comments

  1. Love this very inspiring for me to actually get my planning shit together. I can’t let the gays down!

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‘Halloween III’ Rules; Capitalism Sucks Ass

HORROR IS SO GAY 3

I love horror movie sequels, but I distinctly remember scoffing at the synopsis of Halloween III: Season of the Witch when I first heard it as a teen. No Michael Myers? Fuck that! I found out later this response wasn’t uncommon. In fact, that was the reaction most people had to Halloween III when it was released in 1982. Everyone — including 2005 me — wanted to see Laurie Strode evade Michael Myers all over again, and no one cared that John Carpenter and Debra Hill never intended to make another Myers film after that first one (and especially after the second one). Along with their friend and Halloween III director, Tommy Lee Wallace, they hoped Halloween would blossom into an anthology series in the vein of The Twilight Zone or Night Gallery. History shows us that never happened, but at least they got to attempt it this one time.

When I finally came around to Halloween III about a decade after I learned of its existence, I found myself feeling a bit like Carpenter and Hill, wishing Myers never became as iconic as he was then and is now. As much as I love slasher films — and I really do — and some of the Myers films, including the original, I’ll be the first to admit that the slashers that put their mockery of the perceived safety of American suburbia in the forefront just don’t have the same impact on me as they did when I was younger. Growing up watching horror films then becoming a horror fan completely transformed my appetite for them. Teenage me was content with just the simplicity and straightforwardness of the targets of some of my old favorites, but as I got older, I wanted to see different qualities — more artfulness, more nuanced prey, more absurdity, more humor, more pushback against the values our society holds so dear.

Technically, Halloween III isn’t a great film or even a great horror film. It’s ridiculous. It’s gross. It somehow commits the infraction of having practical effects that actually don’t age very well. Its tone is strange and hard to fully pin down. It seems like the work of someone who really wanted to make something original but couldn’t fully realize that vision. There are elements of science fiction and “body snatchers” stories, but they never fully gel together throughout. Our “hero” is hard to root for, and some might argue it’s too mean. But if we think of the original Halloween film as the foundation for what would eventually come, Halloween III constructs a new dwelling on it, making room for more complete criticism of American culture, the power-hungry members of the corporate ruling class and their destructive innovations, and our willingness to give ourselves over to the corporate overlords who quietly run this country in order to quench our insatiable thirst for stuff.

Halloween III begins in media res, the week before Halloween. In Northern California, a man (Al Berry) carrying a cheaply made jack o’lantern mask is running for his life from some highly quaffed men in gray suits. Lucky for him, he’s able to “kill” one of them before he comes up on a gas station attendant (Essex Smith) who’s able to get the terrified man to a nearby hospital. Across town that same night, we meet Dr. Challis (Tom Atkins) as he’s visiting his two children for the first time in a while at their mother’s house. The relationship between Dr. Challis and his ex-wife is pushed so far to the brink — partly because they’re divorced and partly because he’s an alcoholic and workaholic who barely sees his kids — she can barely be nice to him in front of the kids. He brought the kids masks to wear for Halloween, and the kids tell him their mom already got them Silver Shamrock masks “just like the commercial, you know”: “8 more days till Halloween, Halloween / 8 more days till Halloween, Halloween / 8 more days till Halloween, Halloween / Silver Shamrock!” He’s not there for long before he gets summoned by the hospital to come take care of the man with the jack o’lantern mask seemingly glued to his hands. Once there, Challis recognizes there’s something off about the man, but he’s not able to do anything about it before another highly quaffed man in a suit comes in and murders the man with the mask then immolates himself in his car in front of the hospital. When the murdered man’s daughter, Ellie (Stacey Nelkin) visits the hospital the next day to identify his body, Challis doesn’t do much except treat it very routinely.

Then, suddenly, it’s five days later and Challis is drinking at the bar he frequents when Ellie shows up to thank him for coming to her father’s funeral. They get to talking about the weird circumstances of her father’s death, and Ellie tells him he ran into trouble somewhere between taking a trip to the Silver Shamrock Novelties factory in fictional Santa Mira and coming back to his shop in the same town as the hospital. They decide to make a trip there to investigate. As they’re making their way, they learn that Santa Mira — an entirely Irish culture themed town not far from where Challis and Ellie’s dad live —  was revitalized by the owner and operator of Silver Shamrock, Conal Cochran (Dan O’Herlihy), when he brought the factory into town. Everything is off about the town: People are weirdly suspicious of outsiders, there are surveillance cameras everywhere, and the town curfew begins at six o’clock every night. Regardless, Challis and Ellie stay the night in hopes of visiting the factory the next day.

When they finally do get to take a factory tour the next day, a series of realizations leads to Ellie being kidnapped that evening. Challis makes his way to the factory where he finds that all the men in suits who work at the factory are actually robots created by Cochran to do his bidding. Cochran’s robots eventually capture Challis, and Cochran explains that every Silver Shamrock mask contains a microchip with a piece of a rock from Stonehenge inside of it which gets activated by a special Silver Shamrock commercial and kills whoever is wearing the mask. Cochran then directs Challis’s attention to a video from a CCTV camera, and Challis watches as the family of three he met earlier that day is brought into a room with couches and TV. The child of the family wears one of the Silver Shamrock jack o’lantern masks as a special Silver Shamrock commercial plays. We don’t see exactly what happens to the kid’s head, but it’s very clear that the mask kills him instantly. As he dies, the mask releases an onslaught of snakes and bugs which target the kid’s parents and kill them right after.

Challis is taken away to a holding room where he’s tied down and forced to wear a Silver Shamrock mask. There, Cochran details his plans to bring back the ancient Celtic traditions of his people. He explains to Challis that on Samhain (the Irish version of Halloween), the hills would run red with the blood of children and animals as a sacrifice to their gods. Cochran wants to replicate that now in a more modern way. Horrified, Challis manages to maneuver his way out of the room, he finds Ellie, and they attempt to stop the broadcast of the Silver Shamrock commercial that will activate all the microchips by setting fire to Cochran, his robots, and the entire Silver Shamrock factory. As they drive away from Santa Mira, he realizes that nothing he did at the factory will stop the broadcast — he has to get in touch with the TV stations directly.

Unlike the slashers that precede it, Halloween III isn’t filled with jump scares, drawn out chase sequences, or even the same level of intimate ruthlessness in its violence. Even though it unravels rather rapidly, the horror here lies in the insidiousness of the mystery being uncovered, and that sense of dread hangs over the whole film. Cochran isn’t a serial killer on a one-night killing spree in his hometown. He’s a rich, sociopathic madman who’s figured out how to make his twisted dreams of Celtic “cultural renewal” come true by preying on one of America’s greatest weakness: our attraction to high-powered product campaigns with catchy jingles and our desire to please ourselves and our families with the cheap, plastic crap being sold to us through them.

In 1982, this might have seemed less relevant than it does in our current moment, and maybe it was. But if we consider the context in which the concept for the film was born, then Halloween III stands as a prescient warning for what was coming as a result of the disastrous decisions of Ronald Reagan’s administration. Some of Reagan’s very first actions as president were in favor of market deregulation and giving corporations and their leaders the right to do business with less government interference. One of the results of this was increased marketing directly to children. Prior to the early 1980s, there were strict regulations in place to make sure children were protected from the kinds of campaigns we see used by Silver Shamrock in the film. After Reagan and his administration came to power, those regulations were quickly diminished, and advertising for children exploded. Everything from Cabbage Patch Kids to cheap movie and TV tie-in toys from the Teenage Mutant Ninja Turtles and Star Wars to Coca Cola were now being advertised directly to children in fun, catchy, and colorful commercials as they watched their Saturday morning cartoons.

As we see in Halloween III, the thing about direct-to-children advertising is that it’s also dependent on the parents’ readiness to fulfill their children’s desires. The adults are fooled by this kind of advertising just as easily. Silver Shamrock isn’t a new novelty brand, but it’s insinuated that not many people knew of their products before they started making these masks and paying to have that damn jingle played everywhere all the time. This creates a false intimacy with the product that helps ensure the parents will give in when the kids ask for those ridiculously cheap-looking masks without thinking too hard about it all. If everyone’s buying this shit, why shouldn’t they? Right?

The gullibility here doesn’t make Cochran any less evil. Like all horror films, he is identifiably the “bad guy” and the unsuspecting children and their parents are the victims of his madness. Herlihy’s portrayal of him isn’t over the top, because it doesn’t have to be. Once he you see him treating his robots as if they’re real people, talking about stealing a large piece of Stonehenge and reviving his understanding of the pagan traditions of his people, and killing an actual child and his family with glee, the cartoonishness of his villainy is apparent. It might seem counterintuitive for a CEO to kill off thousands of his consumers, but that’s just the start of the plan. When the mystery is finally revealed, you can easily begin to put the pieces of Cochran’s plan for world — or maybe just California — domination together. Yes, he’s going to kill everyone, but that’s only so he can turn them all into robots, robots that will become completely mindless consumers for whatever it is Cochran wants to sell them…forever. As it is in real life, the hope of Cochran’s incessant ad campaigns is to create a population of people obsessed with consumption who are easily pleased by inexpensively made bullshit. This is brought home even further earlier in the film when Challis encounters a homeless Santa Mira resident who lived there before Cochran came rolling into town. The guy explains to Challis that Cochran was never interested in employing the locals and insisted on bringing in his own “people.” Like the CEOs and members of the corporate ruling class of the U.S. today, Cochran’s intentions were never to make anyone’s life better or easier. He just wants them to keep buying whatever he’s selling — and it works. Because why wouldn’t it? It works in real life, too.

If we take a look at the world that has been created in the wake of Reagan’s administration, what we can see most clearly about our culture is exactly what is reflected back to us in Halloween III. We are living in the age of unrestrained capitalism and constant commercialization, and although it might seem like we are individuals with agency free of the kind of influence Silver Shamrock has in the film, that’s simply untrue. Everywhere we look, there are new reasons to stop carelessly creating and buying new things — the fast fashion graveyard in Chile, the gadget-fueled violence and genocide in the Congo, the Great Pacific Garbage Patch, the e-waste poisoning our soil, the environmental impact of AI, etc. etc. — and yet we do not stop. Progress is marked by our ability to grow, grow, grow and buy, buy, buy. And it has taken us to a place where many people do not have the basic decency to avoid buying a new iPhone or to stand in solidarity with striking workers out of the fear of inconvenience. We’ve been told to spend and consume freely by people who exploit us every day, and what have we purchased? A fate not so different from the one of the test family in Halloween III.

Don’t worry, I’m not saying we’re all to blame here. As in the film itself, there is a very clear “bad guy”: the Cochrans of the world who orchestrated and continue to conduct this symphony of destruction, who make it so nothing we buy now will last longer than two years, who help throw us into a period of mass inflation just because they want to, who make us dependent on them for not only these things but also the mechanisms of survival in this system they’ve constructed. The Cochrans of the world don’t care whether we live or die, even if they don’t make it to see us do either. Their tricks are so old and so time-tested at this point that they know the system they’ve created will have no problem getting someone else to take our places. They are the villains in the real story that inspired Halloween III’s creation, but the film reminds us that a villain doesn’t become one without some level of participation from those who surround them.

Aside from the Silver Shamrock factory burning down, the rest of the ending of Halloween III is inconclusive. Challis is on the phone with the final TV channel he has to call to get the Silver Shamrock broadcast off the air. They’re not listening to him, they don’t understand why he’s telling them to pull the plug. The broadcast begins playing and he grows so desperate to get it to end that he just resorts to screaming “Stop it!” over and over again. We’re left with that final image of Challis, looking directly at the viewer, screaming “Stop it!” at us.


THE THREEQUEL

HORROR IS SO GAY is Autostraddle’s annual celebration of queer horror.

Before you go! Autostraddle runs on the reader support of our AF+ Members. If this article meant something to you today — if it informed you or made you smile or feel seen, will you consider joining AF and supporting the people who make this queer media site possible?

Join AF+!

Stef Rubino

Stef Rubino is a writer, community organizer, and student of abolition from Ft. Lauderdale, FL. They teach Literature and writing to high schoolers and to people who are currently incarcerated, and they’re the fat half of the arts and culture podcast Fat Guy, Jacked Guy. You can find them on Twitter (unfortunately).

Stef has written 107 articles for us.

2 Comments

  1. Okay even if it’s not good this sounds INTERESTING. Reminding me a bit of Stephen Kings Cell, which i read recently; both out of date/very much of the past and scarily comparable to the future

    • YES absolutely, i just watched the film adaptation of Cell and some of its themes are so prescient (even if it’s just an okay film)

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No Filter: Janelle Monáe Shares Favorite Horror Films

feature image photo by Jason Mendez / Stringer via Getty Images

Hello and welcome back to No Filter! This is the place where I tell you all about what the famous gays posted on Instragram, with witty commentary! Let’s RIDE!


Guess who will always have me in a chokehold? That’s right, the cast of Yellowjackets!


I just feel it is important to keep track of how often we find Allison Janney at the scene of gay hangs!


I hate to be an online brained monster but my first thought was indeed “serving body down BOOTS” which is…something I will need to reflect on later, for obvious reasons.


SOMEONE GET LAURIE BETTER SEATS NOW!!!


This is…humiliatingly relatable, actually!


Sure I have some questions like “why?” but at the end of the day, corn is the reason for everything, isn’t it?


The 90s R&B of this look, mon dieu!!!


Raise your hand if you are buying Wicked tickets today — hello my people!


This trailer absolutely whips, I am pro a return to classic monster Hollywood, but my god I will never put mine eyes on this as long as I live maybe??


Cynthia Nixon cat photoshoot, never a bad time for one of those!


Janelle is still rolling our their favorite picks for AMC’s Fear Fest!


For the most part, I do find the new RHONY cast a little too focused on image and not making drama, but I am always charmed by Jenna’s inability to take any of that seriously!


[redacted]

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Christina Tucker

Christina Tucker is writer and podcaster living in Philadelphia. Find her on Twitter or Instagram!

Christina has written 304 articles for us.

Maisy Stella Absolutely Would Have Picked Aubrey Plaza To Play Her Older Self

In Megan Park’s My Old Ass, the performances and passion of the cast are clear, especially from queer lead Maisy Stella, who plays the younger version of the same character played by Aubrey Plaza.

Stella broke into the industry alongside her sister Lennon Stella on the musical drama Nashville. You may also know her and her sister from their musical duo Lennon & Maisy, most known for their viral cover of Robyn’s “Call Your Girlfriend.” In addition to My Old Ass, she is set to star in the film Flowervale Street, scheduled for a May 2025 release and also starring Anne Hathaway and Ewan McGregor.

I sat down with the Stella for a brief interview to get her perspective on the film’s queerness, nostalgia, and her own personal reflections on being a part of its making.


Obviously in this movie — and in general — queerness is a multi-faceted beast. The bisexual coming-of-age/coming out movie…I’m not even sure I could name another movie that fits into that category. I was curious how you feel queerness impacts this film and impacts Elliott’s character?

That was such a safe and healthy part of the script for me. I was very put at ease over the queerness of it and how open Megan [Park] was with all of it. I also really loved that it wasn’t at the forefront of Elliott’s character. There’s been so many times where I’ve been searching for a queer movie to watch but I don’t enjoy it as much because that’s all there is to the movie. And sometimes I am in the mood to watch that, but sometimes I want to watch a movie where it’s just real people living. I felt like with Elliott it was nice because it wasn’t all that she was. She had a lot more going on, and this was just a part of her, and I related to that and it felt right to me. I’d never seen anything like it in terms of being reversed and it being so internal of her starting so sure and confident of who she is. She’s accepted by everyone in her life, and set on a label, and then opens up a little bit. Megan was smart about it, wanted it to feel honest and grounded and real.

Something I found interesting to was, as you say it, “in reverse.” Elliott being so sure of her sexuality as a lesbian, and then having that be rocked. How do you think playing that kind of character was impactful for your personal journey, or what of your personal journey did you bring into the character’s exploration?

I felt that I’d grown up in a very different way, where I was never pressured into using a label. Which is not everyone’s experience. I was very lucky in that sense — I’m from Canada, I’m from a liberal family, I literally didn’t know being gay was a thing people weren’t cool with! I didn’t know that until I moved to Tennessee and was rudely awakened. It didn’t come until later that I dealt with that stress and confusion. My favorite thing to watch in movies is genuine self-exploration and confusion. I find it satisfying to watch because it’s relatable. So I felt proud to play someone who is just being honest with themselves, and I related to Elliott in a lot of ways.

I read in Variety that you manifested working with Megan, so how was it getting to finally do that, and getting it to be this specific movie alongside Aubrey Plaza who is a powerhouse in this industry already?

I had auditioned for The Fallout, and Megan knew that, so I knew I needed to work with her. So my manifestation was genuinely from being so moved and inspired by her. I was already filming for two weeks before Aubrey was attached — Aubrey was the most beautiful surprise after I was already filming. I didn’t know she was in it — if I could’ve picked my older self, I would’ve picked Aubrey. So that was the most surreal thing ever. But for the majority it was Megan and the script. The script was so undeniably special, and anyone who read it was immediately supportive of it and wanted it to work.

What do you think people will take away from this movie?

I feel like the concept of the movie is a universally moving concept. Anyone in a tender place watching this movie, it will hit. I have always been a clinically nostalgic person, so this movie softened me. I am always trying to channel my inner child. My sister has a tattoo that says “be the child you were,” and I think Megan gave the cast the advice of “this experience is going to go by so fast, so try to enjoy it and take it all in.” So I made the effort to do that, so I would probably tell my younger self to start living actively sooner. The filming of the movie woke me up in that way, and made me feel more grateful and present.

Have you had conversations already with people on the impact of this story’s approach to queerness or nostalgia? What do you think is the significance of this specific spin on a queer coming of age?

I still don’t know where this came from in Megan; I think she knew someone who had a similar experience. Since then, we’ve known a lot of people with similar experiences. I think this entire movie is human and honest. There’s nothing about it that feels forced, and this side of it — there were a lot of queer people in the cast that had all talked about it and wanted to make sure it never came across as someone who only likes women and then sees a Calvin Klein model and changes her mind. That never was what it was. My part in it wanted it to feel true, like a real girl who has only been interested in women, and then meets someone who she falls in love with as a human. I think she would’ve fallen in love with Chad had he been a woman. The response has been lovely. It’s been exciting to see people’s reactions and responses.

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Gabrielle Grace Hogan

Gabrielle Grace Hogan (she/her) received her MFA from the University of Texas at Austin. Her poetry has been published by TriQuarterly, CutBank, Salt Hill, and others, and has been supported by the James A. Michener Fellowship and the Ragdale Foundation. In the past, she has served as Poetry Editor of Bat City Review, and as Co-Founder/Co-Editor of You Flower / You Feast, an anthology of work inspired by Harry Styles. She lives in Austin, Texas. You can find her on Instagram @gabriellegracehogan, her website www.gabriellegracehogan.com, or wandering a gay bar looking lost.

Gabrielle has written 18 articles for us.

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Testosterone Gel vs. Injections: Which Is More Effective?

I’m not a doctor or a scientist. What I am is a trans man whose own transition experiences have made me curious about how it all works. Recently, nothing has captured my fascination more than my switch from topical gel testosterone to subcutaneous injectable testosterone. Specifically, I’m taken with the fact that the T is… suddenly actually working? This is great news for me, but why?

Which form of T is most effective? I can’t definitively give an answer to that. To be able to make such a sweeping statement with confidence, I’d need some serious scientific data to back it up, and unsurprisingly, that research barely exists yet for trans men.

Like so many other times in my transition, I’ve found myself in a position where relevant studies aren’t there yet and Google can’t help me unless I add “Reddit” to the end of my search. The best I can do is interview people who have switched forms of testosterone, and talk to a medical professional who would know— namely, Helena Turner (she/her), a nurse practitioner who’s worked in primary care for nine years. Though Turner herself is not trans, she is one of the (seemingly rare) medical professionals who knows what’s up. “Most of my clinical practice has been as a primary care provider working with and for LGBTQIA+ folks who believe in compassionate, non-judgmental, full-scope primary care — which includes providing gender affirming medicine,” says Turner.

Is One Form of Testosterone More Effective Than Another?

“In broad and general terms, no,” Turner says. “No matter how the medication is delivered, it is acting systemically. Individual differences in absorption can change the ‘effective dose,’ aka amount of medication reaching target receptors, but assuming that dose is the same, testosterone is testosterone is testosterone in terms of how quickly an effect will occur. Generally speaking, injectable medications have higher bioavailability” — meaning the T in your system is more easily used by your body —  “than medications delivered in other manners because injecting a med bypasses the skin, through which topical meds need to be absorbed to have an effect.”

Absorption is an important factor, but it comes down to finding the right dose for you. “Every person’s response will be individual, [and] if the dose is sufficient — and if we assume that the effective dose is the same, a big assumption — then changes will occur at the same rate,” Turner adds.

If there is such a thing as an Official Answer™ about testosterone effectiveness, it would come from The World Professional Association for Transgender Health. According to WPATH, “there is evidence that transdermal and intramuscular testosterone achieve similar masculinizing results, although the timeframe may be somewhat slower with transdermal preparations.” This particular quote cites a 2005 study I was unable to find myself, despite my (and JSTOR’s) best efforts, so some science is out there, but it’s almost 20 years old, and not the most readily accessible to your average trans Googler. My personal experience certainly aligns with this study: Masculinizing results went slower on gel.

Speed of Changes: Anecdotal Evidence

I spoke with seven trans people who have been on multiple forms of testosterone. I naively expected people’s testosterone timelines to be as straightforward as mine was — start on one form, have qualms with it, switch to another — but six out of seven interviewees had switched back and forth between gel and shots. Some were even on forms of T I was unfamiliar with, such as auto-injectors like Xyosted or slow-release testosterone. I thought slow-release meant pellets, but it is actually testosterone undecanoate, an option I’d never heard of before. The interviewee using it, Warren (he/him), describes it as “an intramuscular injection, as a sort of serum that releases the T over a long period of time, so you’re not doing shots super frequently. It’s more like three month intervals instead of three week intervals.”

Regardless of people’s testosterone timelines, there was a clear trend as to which form was fastest: five out of seven interviewees brought up changes feeling faster on injectable testosterone.

One interviewee, Prior (they/he), says that when they switched, they “[couldn’t] really categorize any of the changes as positive or negative, but here’s what I noticed was different: T dick started growing faster; voice deepening sped up; attraction to women WAY increased; more body hair, seemed to get thicker too; way more acne on [my] face, especially [around the] chin and jawline.”

I’ve noticed all of these changes in myself since switching, too, except for changes in my attraction to women, which went from high to high.

“The effects were much more pronounced with the shots,” another interviewee, Chris (he/they), says. “My mental health was better, I was hairier, I smelled grosser (positive), I got balder, and my period stopped.” Mav (he/him) shares that he “felt immense relief and gratification when I started injections and almost immediately started experiencing faster changes.”

“Faster” is not synonymous with “better.” In some cases, a more gradual change can be a good thing — as Ren (they/he) puts it, their slower experience on gel “wasn’t positive or negative for me. Being a singer, the slow changes gave me more time to adjust to my voice and keep it flexible as the vocal cords thicken.”

There is no “better” form of testosterone. If we define “more effective” as “faster,” this very small sample of anecdotal evidence points to shots yielding faster changes. But as Turner says, testosterone is testosterone, so if by “effective” we simply mean “causes effects at all,” both forms get the job done.

Why Choose Testosterone Gel, Then?

Testosterone gel is not without its own unique benefits: mainly, not having to poke yourself with a needle, and less hormone level fluctuation.

Testosterone gel works by getting rubbed directly into your skin, typically daily. I can’t speak for anyone else’s gel experience, but I’d say the texture of mine was like slightly thicker/stickier hand sanitizer. Multiple interviewees mentioned finding the daily application annoying to keep up with, as well as disliking the texture of the gel — but obviously, unlike injections, it’s totally painless, and that’s a huge plus. Ren, who is now on subcutaneous injections, has a “condition called complex regional pain syndrome that affects my legs and makes the [intramuscular] injection into my thigh more painful.” Everyone has their own medical history that changes their relationship to injections; even if you have no problem with shots, a needle is a needle.

Also, because you’re applying gel daily, your hormone levels may be more stable than if you were injecting weekly. According to WPATH, “because intramuscular testosterone [is] often administered every 2–4 weeks, some patients may notice cyclic variation in effects (e.g., fatigue and irritability at the end of the injection cycle, aggression or expansive mood at the beginning of the injection cycle)… This may be mitigated by using a lower but more frequent dosage schedule or by using a daily transdermal preparation,” aka gel.

Some interviewees mention wanting to switch to avoid migraines specifically. Chris says they were “initially afraid to do the switch to shots because of the potential to cause migraines from hormone fluctuations.” Ren switched from injections to gel at one point because their doctor thought it would ease the migraines they developed.

I asked Helena Turner about this. “A number of symptoms could be attributed to peaks and troughs —  this is definitely possible, though it’s not something that I’ve had patients on T relate to injection schedules that I can recall,” she says. “In general, migraines can absolutely be associated with hormonal fluctuations; I have usually seen reference to these in the setting of menstrual cycles — ‘catamenial migraines’ are migraines caused by a pre-menstrual drop in estrogen. It makes sense to me that a dosing schedule which allows for more stable levels could reduce frequency of migraines.”

Testosterone and Absorption

Why did gel go slower for me? My number one suspect is absorption. The real answer is likely a combination of reasons, but one of them may be that gel has more variables affecting absorption than shots do. Turner says that getting more visible results from testosterone “is mostly going to have to do with how reliably the med is delivered to target receptors. If someone has more visible effects from one form of T versus another, it’s probably because they are getting a more appropriate effective dose.”

I think the difference in variables plays out for me like this: On shots, I inject my testosterone subcutaneously (into the fat). Boom, my dose of testosterone is in me. But on topical testosterone, there’s more time for things to go awry between applying the gel and the T reaching its target receptors.

According to Folx Health, after you apply your T gel, you should “let it fully dry before putting on clothing and going about the day. This is important because while it is still wet, it could run off onto the clothing which decreases the amount that is absorbed, and therefore decreases the dose absorbed by the body. Even when it is dry, the gel continues to be absorbed through the skin for up to 5-6 hours, meaning application time should be taken into consideration when planning to shower, apply lotion/moisturizer, swim, exercise, or just generally get sweaty.”

I was careful about shower timing while I was on gel, but was I too sweaty for it to work at its best? Was I changing shirts in a way that was affecting it? I don’t know, but there was likely some element of user error at play, even if it was small.

Turner echoes Folx Health’s tips on gel. “There are a lot of particularities about gel application that can affect absorption — let it dry before putting a shirt on, don’t shower soon after putting it on, etc. Applying moisturizer or sunscreen over the T gel application site one hour later can increase absorption.”

Yes, that is a real tip backed up by science. According to AndroGel’s prescribing information, “Application of moisturizing lotion increased mean testosterone Cavg [average serum concentration over 24 hours] and Cmax  [peak serum concentration]  by 14% and 17%, respectively, compared to AndroGel 1.62% administered alone. Application of sunscreen increased mean testosterone Cavg and Cmax by 8% and 13%, respectively, compared to AndroGel 1.62% applied alone.” So if you’re already putting one form of goop on your arm, it turns out other goops can help.

Injectable Testosterone Allergies

Another reason someone might opt for gel over shots is that you can be allergic to injectable testosterone — specifically, testosterone cypionate, which is formulated in cottonseed oil. The allergy is to the cottonseed oil, not the testosterone, so even if you have this allergy, there are still forms of T you can take. Testosterone enanthate is another injectable form that’s formulated in sesame oil instead. If you’re allergic to sesame, you’ll be allergic to that one, too, but a serious allergic reaction to testosterone enanthate is rare.

I asked Turner what happens if someone who’s unknowingly allergic injects. She says that “reactions are generally local — itchiness, swelling — like a bad bug bite, and with continued exposure can worsen, like more intense or longer lasting irritation and symptoms with subsequent injections. Reactions may not appear with the first few injections, and importantly, as far as I know or have seen, it is not a first exposure/injection to immediate anaphylaxis kind of a thing.”

Anaphylaxis is possible, though rare, and if you really want to put your mind at ease, you can get checked for cottonseed and sesame allergies first. And don’t freak out if your injection site itches just a teeny tiny bit immediately afterward — that’s most likely normal.

Turner agrees about allergy testing and says that in an ideal world, this would “be double checked by [your] provider before [your] first injection regardless of allergy history.” “Ideal world” is doing a lot of lifting here. Turner is a medical professional who’s well-versed in queer and trans medicine, but not all medical professionals are. Which leads me to unmask the real Scooby Doo villain of transitioning…

Which Form of Testosterone Is Easier To Get With Insurance?

It’s not just testosterone’s effects that have been different since I switched from gel to shots. The difficulty of actually acquiring the prescription has changed, too, in my case for the better. Ryan (he/him)’s experience was most similar to mine: “So far, injectable testosterone has by far been the easiest method to obtain from pharmacies and with my insurance. The gel was much more expensive to fill and so were the patches.”

When I was looking to start gel, I was delayed an extra three months by trying to find a pharmacy that had it in stock. I cried in five Walgreens/CVSes in two different states when they’d tell me my prescription was ready, then out of stock, then they had no idea of when it would even possibly be in stock. Of the 14 months I was on gel, insurance only automatically covered it about half the time, and for the other half, I was either fighting with insurance agents or pharmacists to get that fixed, or couldn’t get it fixed and had to pay out of pocket. I easily spent hundreds of dollars on gel. Meanwhile, on shots, all I’ve had to pay for out of pocket was around $50 for my initial injection supplies, which will last me over a year.

Overall, interviewees were split on whether gel or shots were easier to obtain and get covered by insurance. Some people had no problems with either form, and some people had problems with both.

“Luckily, I haven’t had any issues with pharmacies or insurance,” Ren says. “Gel tends to take longer to get in stock at the pharmacy and luckily between my student health insurance plan and my parent’s health insurance plan, all my testosterone has been fully covered under insurance.”

Tyler (they/them), who is on auto-injectors, says that “auto injectors [were the easiest to get covered] by far since insurance approval seemed like just a week or so… I get a few months of supply and I never have any issues of delay or prior authorization, both of which I had with IM and gel.”

Chris, unfortunately, has had a harder time, no matter the form of T. “The gel was harder to find. Only one pharmacy in a three hour radius would fill my prescription. The shots were also bad but because there was a needle shortage. I would go weeks without medication solely because my prescription was considered cosmetic and I wasn’t medically important enough to be on the waitlist for needles.”

Mav’s situation was somewhere in the middle. “Financially, injections have been much easier. I was paying out-of-pocket for my gel, now I’m paying a much smaller co-pay for testosterone, syringes, and needles. Injections have been harder to get consistently for a couple of reasons; My testosterone refill request takes longer to process than gel ever did. Since testosterone is a controlled substance, I have a narrow window between requesting my refill too early and getting denied, and requesting too late and running out of my medication. So far, I’ve gone 2-3 weeks without testosterone between each refill, because I haven’t found the right timing yet and my doctor is notoriously difficult to get in contact with.”

Mav makes an important point: Even with an easier time with insurance, there’s still a big hurdle to clear to get T, which is dealing with the medical system as a whole.

Wait, You Mean The (Lack Of) Trans Healthcare Was the Villain All Along?

Yep. I’m lucky that my reason for switching was purely based on what I wanted to get from my transition. Multiple interviewees have stories about the medical system preventing them from accessing testosterone in ways that were out of their control.

In Chris’s case, he was on gel and “wanted to go back to the shots but covid hit and I could not get an appointment. The doctors stopped refilling my prescription because I couldn’t come in for blood tests… I couldn’t get the blood tests because I couldn’t get an appointment. So I was dropped. I moved out of state to an area with no trans healthcare because it was what we could afford at the time. Haven’t had the opportunity to start back up.”

I know the US healthcare system is bad, because I live in it. In what I’m considering an equality win, I’ve had almost as much trouble with my medication for Crohn’s disease as I have with testosterone, but getting T prescriptions filled still takes that cake. A 2021 study confirms the obvious: “transgender people experience significant difficulties with insurance, cost of care, and overall health.”

It’s not just the US healthcare system, either. Warren mentions an “unfortunate clerical error which resulted in me coming off T unexpectedly for eight months.” In what world should our access to life-saving care be at the whims of clerical errors?

Warren is now on slow-release T, but switching to that was an uphill battle. “It took a bit of persuading my gender doctor that I felt that would be the right choice, and then a waiting game of admin time, waiting for the letter to by typed and then waiting on the wonderful postal system for my letter to reach my GP and for them to agree to what’s known in the UK as a shared-care agreement… Overall, I waited about three-ish months.”

Three months is already agonizing, but waiting for gender-affirming care in the UK is unfortunately nothing new. Last year, the BBC reported that “transgender people in England have faced waits of up to seven years for an initial NHS assessment.” That’s longer than most of my trans friends have been on HRT at all.

We Have To Be Our Own Advocates

I asked interviewees what advice they’d give to anyone considering switching, and the overwhelmingly most popular advice was to be your own medical advocate.

Warren summarizes it well: “Backing yourself up with research and knowledge is always a good plan. Advocating for yourself can be scary, but you have every right to do so, and if you feel you would benefit from a different testosterone then you should go into it with some fight in you.”

Chris agrees. “Doctors aren’t always the most informed in HRT options and reactions, [so] do your own research, too. Sometimes there will be obstacles that might make you have to stop cold turkey that cannot be planned for. Don’t worry, everything doesn’t come undone when you stop.”

Tyler adds: “If you live somewhere progressive like I do, always go that extra step for a gender affirming center or doctor team. I would’ve had so much less [trouble] if I had these nice people just talking to me like a person.”

I’m lucky enough to have a medical professional handling my HRT that not only understands trans medicine, but is trans themselves. It took a lot of self-advocacy to get me here, especially when my first HRT prescriber was a doctor whose online practice straight up disappeared with no warning, and when I told my current GP the gel dose she had me on, his response was a slack-jawed “you’re on HOW MUCH?!”

There Is No One Way To Take Testosterone

Like I started with, I am not a doctor. I am not a scientist. I am just one guy begging both of those groups of people to look more into trans experiences so there will be better information out there than this, which is one man’s experience and his attempt to describe the experiences of others. This isn’t about convincing people to switch forms of T. Transition is highly individual, and if what you’re doing works for you, that’s perfect. The point is that if you’re already considering switching, there’s not a lot of information on making the switch, and trans people deserve to make informed health decisions just like anyone else.

I went into this wanting to find out if gel or shots are more effective. What I learned instead expands far beyond just the science of how testosterone works: There is no one way to take T. Shots and gel aren’t the only options, and even two people on the exact same dose of the exact same method will take it differently. Some will take breaks, some won’t; some will have relatively easy access to T, some will have to work harder for it; some will experience completely different physical effects than others, which doesn’t even account for how they view those effects through the filter of their own transness.

It sounds obvious, but every transition is unique. Turner says that a person’s body’s reaction to testosterone gel/injections is “as individual as the response to any hormone or combination of hormones in a body, which is to say — very! Think about how different the impacts of first puberty are from person to person.”

The emotional impacts vary, too. “I don’t consider myself a trans guy, so my whole experience with testosterone has been filled with uncertainty,” Prior says. “I think I had hoped that taking T would make me feel certain, one way or the other (as there are famously only two ways), of what I am. But it’s honestly been a lot of back and forth. Not very much euphoria or dysphoria, just a hungrier, hornier, hairier life.”

Ryan took a pause from T for a while because of medical complications and “on a personal level, I felt as though I needed to pump the brakes a bit on the HRT part of my transition.” He’s back on T now, with the understanding that “it’s pointless to compare yourself to other people because everyone’s body is different and HRT impacts everyone differently. The people I know that have had good experiences with gel have different transition goals than me, and that’s okay. It’s really about what kinds of changes you want to get from HRT.”

Everyone gets something different out of transition. Everyone wants something different out of transition. How effective T is for you is not just a matter of gel or injections: It’s your pre-existing conditions, your self-perception, your access to trans resources and healthcare. The person who gets the most ideal effects out of T isn’t the person on shots or gel. It’s the person with the best insurance and most clear sense of what “ideal effects” means to them.

What If You’re Interested In Switching Forms Of Testosterone?

Turner’s advice for anyone considering switching is to “speak with their medical team and peers to see what other options might be available.” What medical teams or peers are available to any given trans person vary wildly, but the good news is that if you’re medically cleared to take testosterone in the first place, there’s no harm in switching what kind you’re on or taking extended breaks if you feel like it. Turner says that “provided the dose and formulation someone is using is safe in the first place, [there is] no harm in changing between safe methods, nor in taking a break and re-starting if or when that feels necessary.”

It comes down to whether you’re happy with how your transition is going, what new things you’re willing to try, and what medical resources you can access.

Ren puts it best: “The best decision I made during my transition was to let myself experiment. It doesn’t have to be that deep if you don’t want it to be. You can start hormones, try it out, stop if you don’t like it. You’re allowed to play around.”

Before you go! Autostraddle runs on the reader support of our AF+ Members. If this article meant something to you today — if it informed you or made you smile or feel seen, will you consider joining AF and supporting the people who make this queer media site possible?

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Max Gross

Max Gross (he/him) is a trans writer and comedian based out of Brooklyn. His writing can be seen in The Onion, Reductress, Slate, and now, wherever you're reading this.

Max has written 7 articles for us.

4 Comments

  1. Researcher (with different expertise) here: Nice overview! You could’t find the 2005 paper because it was not published, just presented at a conference, so not your fault. All the (other) studies I can find, seem to be in cis men and have various results, depending on which outcome was chosen as “effectiveness”.

  2. i don’t think they’ve covered this area, but i’d recommend checking out trans health research (the australian research group based at melbourne university) and their publications. their website also has a lot of information on it :)

  3. When comparing testosterone gel and injections, studies indicate both methods effectively raise testosterone levels. Injections may provide quicker results, while gels offer a more convenient, consistent application. Individual responses can vary, so consulting a healthcare professional is essential. Bandile Abeba highlights that personal preference and lifestyle factors play a crucial role in choosing the right method.

Comments are closed.

‘The Girl I’m Vibing With Thinks I’m Still Into My Ex’

Q:

Gist of the issue is this: I went on a first date with a girl (I’ll call her Carly) I met a month earlier at pride and had a great time and great connection. We set up a second date, texted briefly about a couple things we talked about on the date and suddenly the next day she said she doesn’t wanna pursue anything anymore because she thinks I’m not over my past situationship that was with a best friend and that I am still friends with. As with all lesbian drama, it’s complicated.

Last year a very close friend of mine (I’ll call her Jane) realized she liked women and we had a 5/6 month whirlwind situationship (while she was still with her boyfriend of six years – I know I know stupid move). I just got out of an engagement a few months prior and the connection I felt with her and the way she made me feel wanted and not like a burden was intoxicating. While it was great in that sense, it was toxic as hell. We realized we’re just not good for each other and it’s best we stay friends.

This was a year ago. I had a very difficult time accepting that Jane wanted to end things and even harder time when she decided to get back with her boyfriend. She also never communicated, strung me along even after “ending” it and gaslit me about the fact that I was upset over us. I took the year to hurt and process it and also to try to re-establish my friendship with Jane. I started dating again a few months ago (May 2024). I’ve actually been meeting people out in the wild and not on the apps and have been enjoying dating again. Small aside, I never knew who I was or had any sense of self or confidence.

This past year I finally started dressing in a way that is comfortable and completely me, I’ve gained new found confidence, I like myself and know my worth. June 2024 I meet Carly out at Pride. My group kept running into her group and we finally all started talking and we eventually made out like crazy in the club. We exchanged numbers and went our separate ways. I ended up sleeping with Jane that night. It truly meant nothing. It was my birthday and pride, we were drunk and it had been a LONG time since I hooked up with anyone. Carly texted me and we had a little back and forth about pride and that was it. I genuinely didn’t think anything would come from it cuz we didn’t talk much or connect it was more a really good drunken make out.

A couple weeks later I decided to text Carly and ask her out because I just kept getting this physical feeling in my chest when I thought about her and was really drawn to her. We set up a date. Low key at a restaurant. The date ended up being 5 hours. After we ate we hung out in my car and just talked, and got touchy feely and then ended up making out like teenagers in my car for a good 20 mins. I’m talking windows fogged up everything. We had to stop ourselves from going any further. We also just talked and connected and I really really like her and who she is.

Now on the date, Jane was brought up because the day we met at pride Carly asked me and my friends if anyone was dating and Jane said no and I said not by my choice as a joke we all laughed. So that comment was brought up on the date when we’re talking about how we met. That naturally led to me explaining my situation with Jane a bit. We eventually came back to talking about Jane again when she asked about my most recent relationships. Idk if it was the smartest thing but I did say that I hooked up with Jane the night of pride. She later during the date was like I feel like you still have feelings for Jane. So I took the time to explain that I didn’t and that I’m truly past her and the toxic pattern I always fell into. I thought she believed it given that we made out after, had our hands all over each other as we talked and kissed good night. And then next day set up a date.

Carly then hit me with a text saying from what she gathered there’s unfinished business between me and Jane and she’s not comfortable with that and canceled the date and said have a nice summer. I told her that I don’t have feelings, I understand her concern but I’ve moved on, I thought we had an amazing connection and was excited to see where it was gonna go and to give me a chance to show her. She said because I slept with Jane she doesn’t really buy that I’m not over her. But she said she would like to take time and think about it. I was really sad to get that text and am honestly very frustrated and don’t know what to really do.

I feel like I’m now trying to convince her to wanna date me and that doesn’t feel great. I don’t know how to feel about her reaction. Just seems unfair to distrust my words and believe something based on assumptions about someone you just met. Is it worth it to bother with her?

I’m really genuinely upset and was very excited to get to know her. I also feel like this would be a recurring problem since I am good friends with Jane now and talk to her and my other best friend daily. There isn’t anything between us and there never will be given how she’s treated me (I told Carly that too). My gut says just wait and see and if she wants to give it a go then I will and see what happens and if she doesn’t, then obviously the decision is made for me. Would love to hear someone else’s perspective on this.


A:

Hey OP,

You’re right that like most lesbian drama, things get complicated fast. Histories intertwined, flowing emotions, good vibes that don’t make it to the runway for takeoff. Even a bit of Titanic car scene reenactment there. There’s much to untangle, but I think it eventually falls back to Carly’s perceptions and your feelings to it.

So I definitely understand the situationship you got into with Jane. Queer relationships often don’t take the shape or trajectory of cis-heterosexual ones. Most of us have — or know someone who has — gone through something that ill-befits the heteronormative relationship: two people, getting to know each other casually, then more seriously, then further.

It’s good that you see the emotional highs and lows that Jane brought into your life and were able to come out of it while keeping the friendship. Emotionally charged relationships often end explosively when the energy isn’t released carefully, but it seems you’ve found your way back to a satisfactory default. One where Jane is a presence in your life, but in a way that’s not detrimental to your desire to keep exploring.

And explore you have! I adore the energy you found with Carly. The first thing I saw in your story about Carly was the emotional intensity you felt in those encounters. Even without the info about your efforts to keep connecting, it’s clear that this meant more to you than ‘just’ making out and petting. I’ve been in that position quite a few times — making out, rubbing, touching, dates going very well. My emotions and hopes are buoyed, and I develop a daily grin that is hard to dispel.

And then the other person disengages.

That plunge from hopes to reality is always worse the more intensely we feel about the other person. I want to say you’re ‘lucky’ that Carly gave you a rationale before her departure, rather than just vanishing. But getting a rationale can just invite a new wave of what-ifs and maybes that eat us alive. In the end, the situation you were dealt is now the one you have to manage and recover from.

My first Big Thought to come out of this situation was that perhaps Carly just has a different boundary line for a person’s ‘closeness’ to their exes. I recently answered an AF+ Advice question where the asker was trying to explain to their partner that they’re still sharing a bed with their ex for financial and logistical reasons. I think you’re facing a similar rift in opinions: Carly sees something between you and Jane, and she believes her version, whether or not you think it’s true.

I think your ‘not by choice’ remark about not dating Jane factored into Carly’s conclusion. I don’t hold it against you for cracking a joke like that, especially at a Pride event where things are… loosey-goosey and celebratory. I don’t think it was wrong to say, but it may have affected Carly’s opinion of the situation. An opinion that was probably reinforced in your car conversation about Jane.

I could elaborate and elucidate and whatever all day about Carly’s thought processes, but what I’m going to say is this: She has an opinion, and that’s going to suck for your goal of being with her. The people we pursue are allowed to be wrong, even utterly wrong in our eyes, but they’re still allowed to use that as a rationale to make decisions. If they follow that line of thinking to its conclusion, it’s really their loss for losing out on us. This would be hard for me to hear, but I think it applies: Carly’s current opinion is contrary to your desires and it’s probably not even your fault, but it’s already happening.

So, to actually answer your question of is it worth it to bother with her and the attending issues about feeling like you were not trusted…

I think that at most, you can give her the requisite time to think and maybe arrange another meetup to talk over the issue. But positioning this situation as a key discussion point so that if there are any other distractions, it doesn’t detract from actually resolving this conflict. If she asserts her desire to exit (in text or otherwise), then we’ll have to respect that. As it stands, I’m willing to trust in Carly that she needs time to consider this, and if I were you, I’d also use the time to think about your interactions with her, Jane, and how you fit into them. Just to see if there are any blind spots you’ve missed.

I don’t think it was fair on you to not trust your version of events. If you erred in how you presented that story, maybe it would have been fairer to give you a chance to clarify the situation. For now, I’d give Carly the space she’s asked for and after an appropriate amount of time, ask for another opportunity to talk about it. Her answer then will tell you what you need to know.

No matter what, this is rough footing for starting a relationship. It may turn into the uphill endeavor of, as you say, trying to convince her to wanna date me. That’s frustrating, even when it’s caused by an honest misunderstanding. Despite these pains that I also feel keenly, I’m actually rather… proud of both of you. Carly has communicated her interests, opinions, and desire for space clearly to you. You’ve been upfront with us (and Carly) about your past with Jane and how you experience relationships. And you’ve clearly done a lot of thinking about it. That all deserves credit, even if things aren’t panning out as you’d like.

For now, I think it’s best to give Carly and yourself some time to settle before taking the next step. It’s enjoyable to be taken in by a new and exciting person, but that intoxication is often joined with an unpleasant hangover or morning realization. You’re in that place now, and it might be helpful to take each step as it comes. Be assured that tomorrow will still happen, whether Carly is present in your tomorrow or not.


You can chime in with your advice in the comments and submit your own questions any time.

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Summer Tao

Summer Tao is a South Africa based writer. She has a fondness for queer relationships, sexuality and news. Her love for plush cats, and video games is only exceeded by the joy of being her bright, transgender self

Summer has written 50 articles for us.

14 Comments

  1. I understand 100% why Carly withdrew on reflection. That throwaway comment about Jane at Pride + hooking up with her that night, both on the same occasion Carly and OP met….that’s a lot for someone to take in when you’ve just met and don’t know each other. Carly is rightfully putting herself first. Perhaps she has been in a similar situation before and sensibly doesn’t want a repeat, especially if she was burned. I personally don’t think the OP played this well, and given it all unfolded on a couple of nights that’s not surprising. No opportunity to strategise haha. This is a bummer, I feel for both parties, but understand where Carly is coming from.

  2. i wonder if jane said something to Carly or to someone Carly was friends with? It seems so weird to me that out of the blue she changed her tune on being interested in you after having such a long date. or maybe she has baggage from a different relationship where the person she dated wasn’t over her ex? I don’t think I would be spooked by what you said and I feel like nobody I know would be spooked by that really.

  3. Honestly, I totally understand where Carly is coming from. I think I’d be fine going into a date with someone who had made an off handed comment or joke that implied they wished that a close friend was actually more than that. However, I also would have run hard and fast in the other direction upon finding out that not only was said friend actually my date’s on and off situationship, but also that you’d slept together as recently as the night we met mere weeks ago. While I do absolutely believe you feel like you’re over the Jane thing, fully processing something like that, specifically a dynamic you labeled as a “toxic,” could take more time than you’re expecting. Now, obviously I don’t know you or your situation beyond what you’ve said here and maybe you really are wicked fast at processing things and can totally hookup with exes in a fully platonic manner, but most people aren’t so I think her caution is pretty understandable. I would have pulled back too. Not because I was burned by someone in the past or because don’t believe you’re telling your truth, but because humans lie to themselves all the time without realizing it – especially when we reeeeally really want something (like a second date) – and also because I honestly think being “over” someone and processing the effect it has on how I move through future relationships are two different things. I wouldn’t want to end up in a position where I’ve gotten emotionally invested in a new relationship only to discover my new boo actually wasn’t as over the ex as they thought, or had some serious unpacking to do on how the engage with new partners after leaving a toxic dynamic. I’m sure it’s really frustrating, but I do think all you can really do is stay friends and hope that it turns into something more with time. Maybe invite her to some group hangs? Seeing you interact with Jane in a friendly way on a consistent basis might help her feel more secure in your assertions that you’re really over the whole thing.

    • This was 500% longer than I intended it to be but alas. I’ve never been particularly concise. Also major props to you, Summer, for handling this response with such compassionate finesse.

  4. Carly is definitely in the right here-i’ve been in her situation many times and learned my lesson the hard way. Also half the time the lesson wasn’t from the queer pursuing me but from the boundariless situation that overlapped me.

    the fact that Jane was continually cheating on her boyfriend with you tells me that she has terrible boundaries. the fact that you continued to sleep with her tells me you are still working on your self esteem issues and boundaries

    you might really really want Carly but she is seeing that you are still finding yourself. Your insistence on having a friendship with the Jane you were in love with and had an infidelity affair with because yes bisexuality exists and cheating on a boyfriend with a woman is still cheating-tells me a lot and gives me side eye. Please Please Please by Sabrina Carpenter might be the rallying cry for drama like this.

    it’s interesting the queer community often accepts a woman cheating on her cisboyfriend but if he was trans it’s not ok-well that’s messed up. anyways i wish you luck on your journey of self discovery-women are not obligated to continue a relationship with you as you discover yourself and mature.

    i’ve been Carly and every time i’ve let my initial boundaries down despite my original instinct for distance i’ve been totally burned by either the pursuer or a Jane character who won’t quit especially when there’s new “competition”

  5. She thinks you’re still into your ex because your behavior suggested this. People can often explain their actions in convincing ways, but actions speak louder than words. She doesn’t have to believe your story just because you do.

    You have to take the L on this one.

  6. I like reading Autrostraddle advice questions because it reminds me that however I am, other queer people are too. It sucks that if you have a couple great dates with someone, they often decide they don’t want to see you again and that’s how it goes. Sometimes the reason they give (if any) doesn’t make sense. But ultimately, if either person wants to end a dating situation, it ends. It sucks and makes it hard for me to motivate myself to keep putting myself out there. I relate hard to the difficulty of letting go of that potential, but at the end of the day… I want to date someone who wants to date me. I’m wishing us all luck finding that, and not more people who seem great and interested until they peace out (with or without a wobbly reason).

    • i felt like that too for so long, it was hard to keep putting myself out there and get rejected. i met my current partner after being ghosted by two dates in a row. hang in there!

  7. hmmm I think I understand where Carly is coming from because when someone tells you that they aren’t with someone anymore because of how toxic it was and how they treated you, there’s the suggestion there that were those things not true then, there might be hope for the relationship to reignite if the other person figures out how to not be toxic anymore or just convinces you that they are not going to be toxic anymore. manipulative people can do that. so in a way it is like sure that Carly isn’t sure if she can trust you but more than that I think it is that she isn’t sure she can trust JANE not to manipulate you back into her arms if she sees you are with someone else.

  8. Wow, these answers are so interesting! I agree that you can’t make someone be into you who has already said she isn’t into it but I also feel for you how frustrating it is to say or do the wrong thing on a date without knowing that you have, or to feel like Carly doesn’t believe or trust you about your feelings for Jane. Sometimes a hookup can just be a hookup even if it is with someone who you used to like.

  9. Isn’t it our right as lesbians to be able to process drama with our exes on a first date and not expect to be judged for it by the person we are on a date with??? Isn’t it what we are known for??? As a community????

    • IDK. In my experience dating other queer women, I feel like a walking embodiment of that We Should Know Less About Each Other headline. At least, up front. Please don’t trauma dump on me. I just want to eat a croissant, drink a dirty chai, and look at pictures of your cats and/or dogs on the first date.

  10. I keep thinking about this and can’t get over that this was one date. The depth of this situation having occurred in one date (yes, with a month in between) leads me to think a lot is going on in the letter writer’s head and in Carly’s head that is seeping into a very short interaction. Part of that, I wonder (at least for the letter writer) might be related to these situationships being tied into the last one. The whirlwind situationship with Jane was in the timeline of breakups for both (Jane’s breakup was wrapped up into this, we don’t know about LW’s); and Carly is wrapped up in Jane. No clue what Carly’s history with exes is, but the relationships LW talks about are all intertwined with past ones.

    Also, most dates tend not to work out long-term for one reason or another, and we often don’t know why. A rejection after 1 date, even after a good date with another planned, is reallllly common. Investing so much and reading so much into it feels like there’s a lot of fantasy and other things living in LW’s head and that Carly is, in a way, a transference relationship or some sort of fantasy of a relationship.

Comments are closed.

Possession, Heartbreak, Transition

HORROR IS SO GAY 3

Possession is a breakup story. The West Berlin-set 1981 film was written by director Andrej Żuławski during his own divorce, and it’s grotesque, absurd, relentlessly painful, and surprisingly comic. In other words, it is a portrait of heartbreak.

During my most nervous-system-destroying breakup to date, I found myself feeling like an abandoned child, the victim of a broken contract. “It’s like my mom told me she doesn’t want to be my mom anymore,” I remarked to my therapist, friends, and myself over tear-soggy cigarettes. In reality, I was no more a victim of my partner’s agency than he was of mine. We both voided the unofficial contract of our relationship by changing to the point of incompatibility. Of course, feelings of pain, bereavement, and betrayal with no one to vilify can be particularly crazy-making. “Healing” is an unwelcome pursuit when to repair yourself is to concretize your separation from your once-beloved.

To feel reduced to infancy by a breakup is not only the result of perceived abandonment, but also a response to perceived helplessness. To be broken up with is, essentially, to not get your way. If Żuławski was left kicking and screaming in his highchair, then Possession is the collection of mashed peas and spaghetti he threw against the wall: visceral, beautiful, and a reminder that destruction doubles as an act of creation. And so Possession is a breakup story and also a genesis: an ode to the violent birth of the self; a transition.


From Possession’s onset, one thing is clear: Anna (Isabelle Adjani) and Mark (Sam Neill), a young married couple who share an apartment and a son, can no longer be together. Ostensibly, the rupture is caused by Anna. She is the one, we learn, who phoned Mark while he was away on vague spy business and introduced the idea of leaving him. When Mark returns, he is intent on smoothing things over, if not particularly interested in understanding the nuances of her marital discontent. “When will you know?” “Do you want me to spend the night somewhere else?” “Were you unfaithful to me?” His pragmatic questions stand in contrast to Anna’s increasingly volatile frustration. There is no conversation to be had; she has made up her mind. His pleas are cloying and pitiful. To this end, Anna, too, is disinterested in understanding Mark’s feelings, a stance about which she is nothing if not honest. (In a particularly comical exchange, Anna asks Mark what he is feeling. “Are you really interested?” he responds. “No.”)

From Mark’s perspective, Anna is being irrational, incomprehensible. Her severe actions spring from an opaque and sinister source. In the absence of legible cause, her insistence on breaking apart their family, and breaking his heart, is evil. It is impossible to reconcile his Anna (the woman who took vows and likely meant them) with the Anna who stands before him, annoyed by his pain, unconcerned with her identity as a wife and mother, steadfast in her resolve to extricate herself from their union. Mark, if unconsciously, follows his logic to the conclusion that Anna’s motives are not her own. If inside of Anna there is a force pushing her to make choices destructive to the family unit, it is because it was planted there by an external (male) force: an interloping seducer. That the force is congenital, long dormant but inevitable, does not occur to him.

Initially, the malignant foreign body attaching itself to Anna, penetrating her walls and spirit, is Heinrich: her philosophically laidback, martial arts-practicing lover. He is the reason she is leaving Mark (“There’s always someone else when these things happen.”) Then, when this cause falls flat — Anna is not living with Heinrich, she is undevoted to him — the blame is shifted to the Creature, another foreign, male body. More specifically, the Creature is an oozing octopus-like sort of monster that Anna appears to tend to and serve. What Mark fails to realize is that the Creature is Anna, and her transformation is less a possession than a becoming: an alignment of her warring selves.


Before I transitioned, I read the late gay, trans activist Lou Sullivan’s published diaries, We Both Laughed in Pleasure. In the space between realizing he is trans and acting on this knowledge, Lou writes extensively about his ostensibly straight boyfriend, J. The surer Lou becomes of his identity, the angrier he grows at J for unwittingly holding him captive within the bounds of their heterosexual relationship. Lou finds himself wishing, he confesses, that J would die so that he could be free to live as a gay man.

When I read these words, I was relieved and concerned to discover how deeply I identified with them. At the time I had an ostensibly straight boyfriend with whom I was very much in love and also hoped would die. I wanted to grieve him because I had no other choice, not because I had willfully ended our relationship. I wanted to be free.

Breaking up with the person you love more than anyone in the world feels nothing short of insane. Growing to hate that person because you are trapped by your love for them feels worse. Tearing up your life, tearing up their life, tearing up everything that depends on your union in order to pursue the necessarily self-involved aim of being yourself feels monstrous, and being monstrous feels bad, and also good. Trans people are often characterized as selfish for accepting the collateral damage that accompanies transition. The fact that destruction frequently paves the way for all manner of discovery is deemphasized. (If you blow the roof off your enclosure, you might get rained on, but you’ll also be able to see the sky). I’m disinterested in fighting against the selfish trans stereotype. I prefer to accept this idea, conditionally, so that I may enter it and take a look around at all the debris, heartache, and fury left in the wake of breaking free.


Unlike Mark, Żuławski does not rush to moralize or condemn Anna. Though the subject matter of Possession is unambiguously personal, Żuławski presents this heartbreak with an intellectual detachment that does not force us into uncomplicated sympathy for Mark. We wade through the mess and madness of transformation, berated by torn apart rooms, endless yelling matches, and rising violence, all while remaining a step or two ahead of our protagonist. It’s clear Mark demonizes Anna as a way to make sense of the pain he is experiencing. But his resolve is weak, and when confronted with her, rage gives way to despair. “When I’m away from you, I think of you as an animal or a woman possessed, and then I see you again and all this disappears.”

The simple thing would be to say that Possession may fruitfully be read as an allegory for transition and the consequential loss of a partner, but the film is more complicated than this narrative would suggest. Because it is not just Anna who transforms and transsexes but Mark, too. In analyzing low budget American horror of the 70s, Carol Clover argues for the utility of interpreting these films through a one-sex system, in which the vagina is not, as Freud would have it, the absence of a penis and symbol of castration, but the presence of a penis inside of the body. In the one-sex system, all “male” anatomy has its inverted equivalent in “female” bodies, and sex is a fluid category that more often proceeds from gender than the other way around. And indeed, in Possession, genders are scrambled and reversed long before sex enters the picture. Anna’s decision to leave Mark masculinizes her and feminizes him. She is cold, firm, and independent; he is hysterical, maternal, and helpless. She is focused on a project that benefits her alone, while Mark is in relational distress, desperately trying to hold their nuclear family unit together.

Following a swiftly called bluff to abandon their son if Anna goes through with the separation—and a three-week hotel bender—Mark returns home and becomes the primary parent of Bob. This includes, for the first time ever, bringing him to school in the morning, where Mark meets Bob’s schoolteacher, Helen, played by Adjani in a brown wig and green contacts. He is dumbstruck by the resemblance, but when he asks Helen if she has met his wife she casually replies, “Of course,” suggesting they do not register as doppelgängers to one another. Quickly, Helen begins to take on a parental role with Bob, but she does not relieve Mark of his child-rearing duties or allow him to return to his paternal role. She merely picks up the slack, essentially covering for him as needed. Gentle, soft, and always dressed in virginal white, Helen retains Anna’s beauty but is behaviorally her opposite. Importantly, Mark and Helen do not fall in love. They try and fail at a sexual relationship, perhaps because Helen is not, in fact, Mark’s idealized version of Anna, but rather his idealized version of himself. And lo, when Anna completes her Creature, who does he identically resemble but Mark, only harder and darker.

Anna and her Creature, quite infamously, do have sex, but in keeping with her admirable self-absorption, this lust strikes me as masturbatory. There is a long, transphobic tradition of attempting to distinguish “real” transsexual women from autogynophiles, cruelly casting the latter as sexually deviant men. By the same token, though less culturally entrenched, gay trans men are accused of fetishizing male homosexuality. Unsurprisingly, a key component of proving the validity of one’s transness is practicing heterosexuality, and this standard is used to cast doubt on the womanhood and manhood of trans lesbians and gay men, respectively.

In reality, due perhaps to compulsory heterosexuality being less likely to influence someone who has done the introspection necessary to transition, there are lots of gay trans men and women. (Being desired as one’s actual gender may very well be an early step toward realizing transness.) Anna is able to fuck and be fucked by her Creature, and when we see them having sex, he is not yet in human form, distancing them all the more from heterosexuality. Always running behind, Mark is unable to similarly release himself with Helen. When they attempt to have sex, Mark falls back into a traditionally heterosexual “male” role, and finds himself dissatisfied and lacking. Still clinging to the failing gender and familial roles of his crumbling marriage, Mark stops short of willful transformation, burying himself among the wreckage.


I am loath to yassify Possession into some inspiring tale of queer self-actualization. Like most good art, the film is complicated, uncomfortable, and does not diminish inconvenient truths in pursuit of clean messages. In Western culture, we are conditioned to prize our individuality even when it comes at the cost of relational obligations. While in an ideal world, one would not be forced into such tradeoffs, it is arrogant and dismissive to insist that being true to oneself no matter the cost is the only or most noble path in life. If we can attempt to excavate the words “selfish” and “selfless” from their loaded cultural and moral connotations, it is worth considering that most choices comprise just one half of an aftermath along with that which is foregone. There were times, in the depths of my heartbreak, where I wondered the point of medical transition if it meant I couldn’t be with the person I loved. What was more true, more essential? My manhood or my relationship? Unsurprisingly, I do not regret transitioning and doing so has greatly increased my fulfillment and enjoyment of life. I would make the same choice 100 times over, but even now, with a life that feels honest and full of love without excessive compromise, I would never trivialize the pain I endured and caused to get here.

Taking the text at face value, the outlook of Possession is bleak. In the end, Mark and Anna both kill themselves, officially ending their relationship by killing off its participants. But if killing themselves works to end their relationship, it does just as much to preserve it. The version of Anna that did fit with Mark, at least for a time, is able to die in his arms. Żuławski, clearly, is not optimistic about the future of the couple’s doppelgängers. This view is evidenced by Bob trying to prevent their union and ultimately taking his own life when he is unable to do so. Bob’s death is particularly upsetting, but it functions more as evidence of Żuławski’s need for his heartbreak to be taken seriously than an accurate representation of the effects of divorce.

It’s an understandable impulse. The grief of heartbreak is immense and isolating. However, for the most part, we do go on. We change and grow, and on the off chance that both parties of a former love grow into a newfound compatibility, it is highly unlikely that they will ever find out. It’s really fucking sad, and Żuławski renders this pain horrifically and unavoidably visible: a noble endeavor. However, viewing Possession with a heart that has healed since being broken allows, too, for a more hopeful understanding. Nothing can undo the pain, but following in the venerable tradition of queer villain reclamation, I am able to muster excitement for Helen and the Creature’s futures, even if they are separate. “I’m afraid of myself, because I’m the maker of my own evil,” Anna says, meaning, in my view, she is the maker of herself.


THE THREEQUEL

HORROR IS SO GAY is Autostraddle’s annual celebration of queer horror.

Before you go! Autostraddle runs on the reader support of our AF+ Members. If this article meant something to you today — if it informed you or made you smile or feel seen, will you consider joining AF and supporting the people who make this queer media site possible?

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Damien Kronfeld

Damien Kronfeld is a Brooklyn-based writer, comedian, and gay guy with a poorly behaved little dog. He is a former Deputy Editor of Reductress and co-author of the satirical essay collection How to Stay Productive While the World Is Ending. You can find his work in Reductress, GQ, and on his substack, “a small offering”. You can find photos of the aforementioned dog on Instagram.

Damien has written 1 article for us.

1 Comment

  1. Since I’ve only seen Possession once I feel i can’t properly meet this intellectual level but I’m obsessed with this essay.

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Kate McKinnon Moved to the Woods, Grows Her Own Food, Got Into Carpentry and Wrote You a Book

Where Did Kate McKinnon Go After Saturday Night Live? The Woods!

TODAY -- Pictured: Kate McKinnon on Monday, September 30, 2024 -- (Photo by: Nathan Congleton/NBC via Getty Images)

(Photo by: Nathan Congleton/NBC via Getty Images)

Saturday Night Live star and “Weird Barbie” herself, Kate McKinnon, has written a middle-grade mystery novel called The Millicent Quibb School of Etiquette for Young Ladies of Mad Science. The book is about three oddball sisters and a mad scientist who have to save their town from mysterious, lurking dangers. It seems like exactly the kind of book my weird little bookworm self would have gravitated toward growing up at the Scholastic Book Fair. Kate McKinnon voices the audiobook alongside her sister, and has been making the press rounds, giving us a lot of fun little snippets and catching us up on her life after Saturday Night Live.

For example, she discusses being a carpenter and growing tomatoes on the Drew Barrymore Show. “I left SNL and then the next day I was like, I’m a farmer, I’m a carpenter. And so I moved to the woods and now I’m a farmer and a carpenter and I grow my own food and I’m just building stuff,” she explains. Kate says she got used to being on SNL and the visibility that came with it but “I also had this growing desire to be a homesteader for real. And then after a while I was just like — I grew a tomato! Yes, i”m great. I’m fine. And I want you to grow a tomato too. And you can.”

Kate also engages in Drew’s favorite activity, which is physical touch, as she reaches out to hold her and Drew stokes her hand. I do appreciate that it seems Drew has been true to her word though and waits for her guests to initiate contact now.

Kate also is very cute with the dog on set, and excitedly answers Leslie Jones’ rapid-fire questions for her:

Kate McKinnon talked to Jimmy Fallon about her new life in the woods, too, sharing that her home has accidentally become a family vacation destination for geese.  She also says she grew up really interested in science and called herself a dweeb, which I found rather endearing.

Kate also paid a visit to Kelly Clarkson’s show, and without even trying, made Kelly sputter a bit after reacting to an accidental innuendo in a subtly flirty way. (Kelly’s reaction is extremely relatable and, sorry Kells, not convincingly straight.) Kate talked to Kelly about growing corn and potatoes and watermelon.

Kelly Clarkson marveling at Kate McKinnon's garden

Kelly Clarkson impressed by Kate McKinnon’s garden

Kate McKinnon hopes this book will help the “weird kids” feel less alone. And I feel like this book can accomplish this in two ways – one, by being the weird kid representation we all need, but also because kids are smart and have access to the internet. Some kids are going to love these books and look up their new favorite author, and see that she’s not only a grown up former weird kid thriving, but also an out and proud lesbian, and for some little weird kid, that’s going to make all the difference. In her interviews, she talks about how she was the quirky one in her class, wearing a Peter Pan costume to school, creating the Honeysuckle Eaters Club with her fellow misfit pals, and she hopes readers they can take the message of the book to heart: your weirdness is your superpower.


More Strange Queer Pop Culture News:

+ Watch Aubrey Plaza call a match a bitch, stab a log and more along with the cast of Agatha All Along in this hilarious and unhinged ASMR video

+ Here’s a look at Real Housewife Jenna Lyons telling her coming out story

+ Sorry to Lady Gaga but I knew we didn’t need another Joker movie and the box office is proving that to be true

+ Here’s a roundup of artists covering Chappell Roan songs, you’re welcome

+ Madonna’s brother sadly passed away, and she posted a lovely tribute to him

+ If Heartstopper gets a fourth season, the creator hopes to explore Tori’s asexuality

+ And in the meantime, you can check out new Heartstopper webcomic updates

+ Chaka Khan knows that “I’m Every Woman” became a gay anthem and “loves all people”

+ Ariana Debose’s character in House of Spoils doesn’t explore her sexuality on screen but there are vibes; she says she likes that about her because “you shouldn’t have to be expected walk in a room and shout your sexuality first”

+ Trans playwright Riley Elton McCarthy talks about their play I’m Going to Eat You Alive! about a trans, pica-afflicted geologist on a roadtrip, their trans sibling, and their ex

Before you go! Autostraddle runs on the reader support of our AF+ Members. If this article meant something to you today — if it informed you or made you smile or feel seen, will you consider joining AF and supporting the people who make this queer media site possible?

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Valerie Anne

Just a TV-loving, Twitter-addicted nerd who loves reading, watching, and writing about stories. One part Kara Danvers, two parts Waverly Earp, a dash of Cosima and an extra helping of my own brand of weirdo.

Valerie has written 596 articles for us.

2 Comments

  1. Definitely buying Kate’s book for my niece. I have been missing her on SNL. Nobody else has what she does.

  2. omgggg i have LOVE LOVE LOVED seeing kate mckinnon on all the talk shows and all over my TikTok, she is such a JOY! I would like to live in the woods with her geese.

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Rachael Lippincott and Alyson Derrick Are Co-Authoring Sapphic YA Romances While Balancing Motherhood

feature image photo of Rachael Lippincott and Alyson Derrick via Instagram

Rachael Lippincott and Alyson Derrick are busy. They’re moms to a toddler, which would be enough, but Rachael is weeks away from giving birth to the couple’s second daughter. Oh, and they’re about to release their second co-authored book, the holiday YA rom com Make My Wish Come True.

I was able to catch up with the couple on Zoom, and we chatted about working together, motherhood, being a dual-creative household, and of course, the need for sapphic young adult stories.


Rachael Lippincott is the New York Times bestselling author of multiple young adult titles, including Five Feet Apart and most recently Pride and Prejudice and Pittsburgh. Alyson Derrick is the author of the great second-chance romance YA novel Forget Me Not. The two authors, who met while studying at the University of Pittsburgh, married in 2020. They released their first co-authored book, She Gets the Girl, in 2022. Things have changed since the last time they wrote a book together, so I just had to know how they keep it all together.

Alyson admits it’s “been a lot,” trying to manage their writing careers and raising their daughter Poppy. Their daughter isn’t in daycare, but Alyson’s brother will come over a few days a week to give them more time to work when they’re on deadline. “We’ve both learned to work much more efficiently,” Alyson says.

Rachael shares that she’s “pretty Type A” when it comes to working. “I would make a very strict schedule and kind of stick to it,” she says. But that changed when Poppy was born. She was about to begin revisions for Pride and Prejudice and Pittsburgh, and she started working at night. And since babies generally sleep on and off all day, even at night it was a lot of “holding and typing.”

When it came time to write Make My Wish Come True, Alyson says her brain was not working “in that way” after having a baby and raising an infant. In fact, Rachael wrote much of the book’s first draft. “I saw that she was struggling,” Rachael says. “I can write like the first draft, build the foundation,” allowing Alyson to “go into these chapters and make them 10 times better.”

Make My Wish Come True is the story of Arden James and Caroline Beckett who were childhood best friends. But now Arden is a Hollywood teen actor with a party-girl image that is getting in the way of her working with a big deal director. So she and her publicist concoct a lie to make her look good. They say she’s from a small town, which isn’t actually a lie, but they also decide to say her old friend Caroline is her girlfriend (a massive lie) and she’s going to prove it when she goes home for Christmas. Caroline, an aspiring journalist, only agrees to fake date her former bestie when Arden agrees to get her an article in Cosmopolitan magazine. After 12 days in an idyllic winter scene, it’s hard for the girls to tell if they’re acting anymore.

The process to write Make My Wish Come True was significantly different from when they wrote their first book together. Back then, they had the luxury of time, which is definitely not something you have with a baby who turns quickly into a toddler.

“I feel like back in the day, I had so much time to think and maybe spend a couple extra hours really dwelling on a chapter,” Alyson says. “And now it’s like you have like two hours, you better sit down and get started.”

“I think we also understand we both write differently,” Rachael explains. “I spend a lot of time thinking about it but then a lot of time I feel that to Alyson or, it seems like all of a sudden I’ll be like, ‘Well, I’m gonna write this story.’”

The December holidays and rom-coms go together like peppermint and chocolate. In the last few years, there’s been an uptick in sapphic rom-coms, so it’s no surprise that Alyson and Rachael would want to get in on that sweet holiday love action. If you ask Rachael, she claims Alyson came up with the idea with Make My Wish Come True, but apparently, Alyson doesn’t remember!

“It’s a great genre,” Rachael says. “I feel like every holiday season I always love watching the Hallmark Christmas movies or whatever Netflix Christmas movie.” The pair “wanted to run with that idea,” and of course, being in love with your best friend is a very specific kind of story we all know and love. The two were able to infuse parts of their own holiday traditions into the story. Rachael, who grew up with a Jewish mom, was able to include that in the book. “It was my first experience writing a character with a very similar upbringing to me,” she says. “There’s a family Hanukkah party in the book that’s very much based on my family Hanukkah party every year.”


Rachael and Alyson are already working on another holiday story: a holiday novella starring Alex and Molly from She Gets the Girl that releases in fall 2025.

Right now, the publishing world is kind of a dumpster fire, especially when it comes to stories for teens and young adults. Selling sapphic stories is hard, and both women feel the pressure to perform in an industry that is sink or swim. Rachael was very honest about the stress. “I need to have something new,” she says. “We wrote a book together, and it did hit the New York Times Bestseller List and a lot of people really enjoyed it, but there’s just such a thing in publishing where I’m already thinking about Make My Wish Come True marketing.”

“I’m not doing enough because I’m pregnant and I’m tired,” Rachael says. “It’s not necessarily an easy thing to do, come up with a TikTok, especially when it’s Saturday. We know we have to post a TikTok. We don’t know what we’re going to do.” She admits that promo is more her thing (if you’re not following her on social media, you should be. Her commitment to the story when creating content is truly inspired. And Alyson is a very good sport about it), but it’s still a matter of “what is going to hook people? Is the algorithm going to be in your favor? Did we not make the video long enough by accident?”

The amount of additional work that goes into being a published author is enough to make a lot of people not want to do it at all. But becoming beholden to the algorithm is unfortunately a crucial way of keeping relevant, especially when you’re writing for a younger audience. Teens don’t always just walk into a bookstore and browse to find their next read. They need the books to come to them.

At a time when a lot of young adult authors are jumping ship to write adult sapphic romances, I had to ask if Rachael and Alyson have ever considered doing the same. “I feel like I never really felt capable of it up until maybe having Poppy for some reason,” Rachael says.

Being a mom definitely makes you feel like more of an adult. If they do ever decide to move into the adult space, I’ll be reading.


Make My Wish Come True by Rachael Lippincott and Alyson Derrick is out now.

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Sa'iyda Shabazz

Sa'iyda is a writer and mom who lives in LA with her partner, son and 3 adorable, albeit very extra animals. She has yet to meet a chocolate chip cookie she doesn't like, spends her free time (lol) reading as many queer romances as she can, and has spent the better part of her life obsessed with late 90s pop culture.

Sa'iyda has written 132 articles for us.

1 Comment

  1. I loved She Gets The Girl and am excited for their holiday rom-com! Glad to hear the girls from She Gets the Girl are getting another book too!

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I Was Naive To Think I Could Shape It More Than It Could Shape Me

I was 15 years old, walking into the Oxford Street Topshop — wearing black skinny jeans, a skintight white tank top with visible neon bra straps, tie-dye Converse and a vintage army jacket from Camden Market — when a breathless stranger tapped me on the shoulder and asked me if I’d ever considered modeling.

This was odd, but not something I was completely unprepared for.


photostrip of Bee as a youngster

the author as a child


I was four when I started dancing. I grew up doing theatre school, acting and singing. I loved being on stage. I was the one who’d bully the other kids into putting on plays for the parents on group holidays, taking VHS footage of myself as soon as I could operate a camera.

I became fixated with fashion pretty early on, often inspired by the Y2K-era music videos I’d spend hours watching on Saturday daytime television. The first thing I ever saved my £1-a-week pocket money for was a one-shoulder glittery purple top from NEXT — a strong nod to my nascent bisexuality, sartorial showiness and enduring obsession with pop stars.

I was 12 when my family emigrated from the reserved, quaint English countryside to the sundrenched coast of South Africa. We’d been going to Cape Town on holiday for most of my life, but moving was different than visiting. I love Cape Town deeply, and in many ways consider it home, but moving at that age was a challenge. My unformed personal identity melted as the markers I’d begun to orient myself around completely shifted. In retrospect it was ridiculous that I felt so unhappy when my life was idyllic in so many other ways, but then again, I was 12.

Paging through fashion magazines and scrolling through Tumblr became the antidote to the loss of control I was feeling. I was captivated by this aspirational, escapist lifestyle, and by the fantasy of the fashion shoots I memorized. I was obsessed with curating an aesthetic representation of my emotions on Tumblr —  combining Lana Del Rey lyrics and Sylvia Plath poems with moody imagery and heavily reblogged GIFs. I thought I was seeing a world that was an antidote to the mounting inner discomfort of my adolescent life.

Like most teenagers, I hated and had become bewildered by the body I inhabited, determined as it was to be a site of unwanted attention and speculation. I wasn’t considered one of the “hot girls” at school. I was a tomboy who wore oversized band t-shirts and ripped bongs as my top party trick. But in the wider world, the world that I felt less at home in and increasingly at odds with, things had been shifting for a while.

I was 13 years old, at the mall, when another girl first pointed out, “people keep staring at you.” I fielded catcalls every time I went outside in shorts. I was 14 when a man old enough to have a car and several tattoos pulled up alongside me and asked for my number. When I declined, he asked me for a kiss. A stranger in a club offered to pay me to have sex with him. A guy I thought was my friend sexually assaulted me at a house party. I didn’t tell anyone. He and my best friend ended up dating for a year.

At a time when my own sexuality and desires were so vague to me, I was constantly being sexualized by others.

All of this had made me cold and standoffish to people I didn’t know. I punished myself with bouts of starvation and self-harm. I was afraid that these physical changes would continue to snowball into an instability that would dominate my rapidly approaching adult life. My body and my selfhood drifted further from each other every day, transforming outside of my permission, and I struggled to hold on, fumbling to hold on to my shadow.

By the time I was stopped by a scout in Topshop, I’d already spent years tearing out the pages of i-D, Dazed & Confused and Vogue. My bedroom walls were plastered with photos of fashion shoots, designer brand adverts, celebrities coked up at fashion week parties and models wearing American Apparel hot pants.

So I’d already realized, like so many of us do, that my body was only partially my own.

collage of bee as a young teeanger


Pursuing modelling seemed like a way to feel a sense of control over a space that had become uncontrollable, or at least something a lot sexier than drinking cheap vodka until I blacked out at house parties.

Fashion magazines showed me that it was possible to build a career — a world, even — where you could always be making things. You could actually have a life where you were creating new worlds and escaping into alternate universes every day.

In the images I saw in magazines and online, the women seemed infallible and intimidating. Captured in a photograph, a moment became untouchable. It seemed like both a gilded cage and a suit of armor; trapping and protective in equal measure.

So there were a lot of reasons I said yes to modelling — I’d always been a ‘natural’ in front of the camera, I’d grown up performing, I loved fashion and art, and I was thrilled and terrified to embark on something beyond a predestined life path. It was aspirational, and glamorous. But above all I craved a space where I could gain power over my dispossessed body.

I was naive and all wrong about what modelling would entail, of course, naive to think I could shape it more than it could shape me. But then again, I was 15.

collage of the author


My journey in ‘the industry’ began tentatively with awkward test shoots and corny campaigns before progressing to full-time after finishing school.

Three days after my last exam and mere weeks after turning 18, I signed my first modelling contract, landed in Tokyo and went straight from the airport to a casting in the same clothes I’d travelled in. I booked that first job, was handed a flip phone (foreigners couldn’t get a SIM in Japan then), a printed map, $100 in yen as my weekly pocket money, and told that I’d be picked up at 4am the next morning to shoot the campaign. I was contracted to reside and work there for the next three months.

I lived in a tiny but comfortable room, sharing a toilet, kitchenette, minifridge and bedroom with a roommate named Sharnay, a happy-go-lucky fairy sort of girl with long blonde hair and a breathy voice. We had this plasticky sliding door that led to a narrow balconette that we’d drape ourselves over, smoking the cigarettes we got handed at our favorite clubs, absorbing the humming aura of the city. Sharnay never asked me where I was going or what I was doing. She didn’t seem unsettled by my intensity but also didn’t really care to understand it.

I remember feeling a revolutionary freedom on that first trip. I spent my own money for the first time ever, on anything I wanted — in 24-hour discount stores like Don Quijote, in Tokyo’s otherworldly vintage shops. I’d wander around alone, going on solitary excursions to distant parts of the city, visiting holy temples and flea markets, losing myself in complete unfamiliarity.

I felt like I’d been given the key to another universe, far away from the painful and embarrassing memories of high school. I felt boundless freedom.

collage of bee looking at the skyline


Our agents ferried the models around in vans, and we bonded there, or in the corridors of our apartment building or in the hallways of the castings where we’d sometimes be waiting for hours to be seen. These bonds were predicated on shared experiences rather than true commonalities, spaces that were as beautiful as they were fleeting.

I went out almost every night to clubs in the seedy Roppongi neighbourhood, where all my drinks and food would be free. The clubs were filled with models from every agency in town, doing shots as the venues capitalised on the free floor fillers. Promoters would invite us en masse to lavish all-expenses-paid for dinners at Michelin starred restaurants, covered by mysterious businessmen who had no issue picking up extortionate tabs in exchange for being surrounded by teenage girls. The drinking age was 20 but that was never an issue, even for the girls as young as 15, who often barely spoke English. I had the luxury of being in the industry by choice, but at least half of the models I encountered were working in Japan to make money to support their families back home.

bee and friend under the disco balls


As my career progressed, the elements of it that made me uneasy and its negative impact on my mental health multiplied.

I have an addictive personality, and I was biting my nails down to the quick as a “fresh face,” eager to book the best jobs — every time I was picked to work with a big photographer, be shot for a brand that was a household name, or commanded a big rate, I’d get a rush not unlike that of a gambler’s.

Whenever I landed in a new city or worked with a new agency, they’d start by taking my measurements and (sometimes, like in Tokyo) weighing me. Contracts prohibited changing my appearance – no haircuts, no acne, no gaining weight. My agents sometimes felt like my surrogate parents, but they also took as much as 70% of what I was paid for my work.

ripped collage of bee modeling


When you’re chosen to be a model you’re seen as mature enough to be able to travel alone and work full time, but often not human enough to be valued beyond your perceived surface level value. Although I was 18 and technically considered a legally consenting adult, I looked years younger. It’s unsettling to revisit photos from that era, like a Sydney shoot when I was 18 where, even with makeup and hair, I look about 16. I’m topless in half of them. I was surrounded by blurred lines, whispers about predatory agents and clients, sexual harrasment, even sexual assault.

My mental health had been rocky since my early teens, waves of mania intermingled with bouts of depression. At times I hated every inch of my body, finding flaws that I would carve out of thin air. Other times, the flaws were pointed out to me as I was picked apart in front of a team of people, like the photographer who told me I had ugly hands at my first editorial photoshoot, leading me to a bathroom panic attack.

The lows may have been low, but the highs were very high.


collage of bee modeling

When things were good, when work was good — in those moments I could feel like I owned the world. I was making money, I was seeing new places, I was on billboards in Tokyo or drinking champagne on a yacht in Sydney, going straight from the afterparty to another shoot. I was living a life many could only dream of while my old classmates were at college, on a gap year or working for an entry-level wage.

When the people defining mainstream beauty tell you that you’re beautiful, the validation is affirming and addictive. Especially when you’re a teenage girl. It’s an unparalleled ego boost. I walked catwalks for designers whose clothes I adored, hand selected from hundreds of girls with similar desires. I was invited to the parties filled with the same people I’d poured over in magazine photos. I got to meet and work with industry icons that I’d looked up to for years. I was shot by my favorite photographer of all time after he approached me at a party.

Eventually, the validation wasn’t enough to replenish the depletion of what it cost to receive it.


bee in an advertisement


I was big in Japan. After the first two years of modelling stints there, I started questioning what my body was bringing to this space. Things I’d been brushing off began to irk me more consistently. What did I, a white girl, mean in this country where the people buying what I was selling don’t look like me, and shouldn’t want to? These thoughts plagued me, but I’d push them down, reminding myself that this was my dream job — and also the only job I’d ever had. Where could I go from here?

The persistent niggling eventually led me to question my physical form — its validity, its privileges — in ways I couldn’t have predicted when my career began.


Despite how hard I tried to curate an enigmatic persona, I often longed for the things I’d once shunned as boring: familiarity, a regular routine, my parents. Every rejection from a job I’d been close to booking was, to me, proof that I wasn’t good enough. I was trying to match up to the idea of the “model” I thought an agent or client would want, and convincing myself that was who I wanted to be.

I felt increasingly trapped in a static identity. I was strongly discouraged from changing my appearance, so I kept my long brown hair. I wasn’t allowed to change my body shape, so I rationalized restrictive eating as part of my job. My personality became part of why people liked working with me, and I felt good about that — it made me feel like more than just a model. But it also made being more than just a model even more personal.

I moved to London and I fell in love with my first girlfriend. We were a gorgeous couple and that became a thing — us, together, working. A first queer relationship is a life changing experience. Mine became intertwined with my job. On a shoot for a Pride campaign, the same niggling questions about what I represented came up again. At the time I barely knew anything about what it meant to be queer aside from the fact that I was in love with a girl. I hadn’t had to fight with my family to live like this, or struggle with so many of the challenges that the majority of people face regarding identity and sexuality. I felt like I was taking something away from someone who might deserve it more and I hated having our relationship so swiftly commodified.


bee modeling in an oval cut-out frame


Olivia Laing writes, “to be born at all is to be situated in a network of relations with other people… We’re all stuck in our bodies, meaning stuck inside a grid of conflicting ideas about what those bodies mean, what they’re capable of and what they’re allowed or forbidden to do.”

One of the reasons that humans are such a successful species is that we are highly adaptable. We understand how to read a situation and change our behaviors to best benefit from it. Our brains regulate our responses based on relativity, meaning that things that would seem strange, given enough time, become totally normal. It was easy for the unsettling world of modeling to gradually feel sane, even regular.


At the onset of the pandemic, I ended up living at home for the first time since I was a teenager. I was able to be honest with myself for the first time since I’d started modeling. Who could I become if I let go of the narratives I’d so long held on to that no longer served me? What if I let myself change my appearance, running the risk of not seeming so attractive? What happened if I dressed how I felt truly comfortable? I cut my hair short and dyed it red. I got tattoos.

I’d tried on so many versions of myself that were meant to be the right fit, yet none had been the right one for me. I needed to find my own identity. I was terrified to let myself be myself. It felt like I was walking away from everything that seemed safe.

I started studying, finding a sense of accomplishment and truth outside of myself through academia. I started letting my guard down and rediscovered the part of myself that craved learning and was deeply fulfilled by knowledge. I re-learned what it felt like to have a sense of accomplishment that came from linear effort. I discovered feminist and queer literature, ways of understanding the power structures that dictated the systems I had felt so trapped and isolated within. I came to understand that it was all about perception and illusion. That I could try something else, and that there was somewhere else to exist.

I’d signed with an agency in America the week before the pandemic took hold, but I’d not been able to enter the country for two years. When I finally returned to LA, I didn’t work once. My look wasn’t what they wanted. My London agency lost enthusiasm for me. But I couldn’t keep treating myself with the harshness and coldness that maintaining a certain image required. I left my agency.


open window with curtain billowing


I didn’t go into modelling with sinister intentions. I don’t think any of us did, really. There was power to be gained, but power over what? And at what cost? I was wrong about modelling being a way to gain control over my body and my image — I had less of that than ever. I started to feel like I’d just become part of the same machine that had harmed me — and probably you— growing up.

Things often felt like they were happening to me instead of coming from me. I was growing up, society was shifting, my career plowed forward. What became clear to me amid all of that is that I hadn’t really been taught a way to understand the world around me. I know I’m not alone in the helplessness, desperation and apathy I sunk into. We all feel at once overwhelmed and disconnected; part of an inescapable interconnected mess, yet alone and left to fend for ourselves.

Young and naïve, I looked towards magazines, media and the Internet to tell me about the world. I imagined what it might look like when I grew up and became a part of it, not realizing how literal or destructive that aspiration would become.

As an adult, I’ve looked towards philosophy, feminism, modernist discourse and queer theory. I found books that helped me unwind the knots I’d bound myself into, ways to re-situate and negotiate my understanding of my place in the world and the world’s meaning to me.

collage of bee modeling

I’m focused on other work now and really didn’t expect to model again. However, against everything I had chosen to believe or been told, modelling now feels good in a way it never did before. I recently walked in a show in London Fashion Week for a brand I’d always wanted to work for, creating and performing a movement piece with the designer that explored feminine desire, rage and rebirth. I starred in a music video, dancing around in the outfit I had worn to the club the previous weekend. I am the face of a beauty brand centering inclusivity, diversity and self-care, with my bald little face plastered across two cities I love and that have shaped me, London and Berlin.

As I walk around the city, I occasionally encounter photos of myself plastered on the wall for a beauty brand. My hair is buzzed and bleached, and the campaign poster images reflect someone I actually know.

We’re all stuck in our bodies and a grid of conflicting ideas. All we can do is bear witness to the body we have, and choose how to act from that place. Where that turns out to be, exactly, might surprise you.

bee with ciggarette

Before you go! Autostraddle runs on the reader support of our AF+ Members. If this article meant something to you today — if it informed you or made you smile or feel seen, will you consider joining AF and supporting the people who make this queer media site possible?

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Bee Beardsworth

Bee Beardsworth is a multi-disciplinary artist, curator and cultural consultant based in London whose practice is currently centred on movement, writing and visual arts. With focus on the internet, post-modern philosophy, occulture, architecture, feminism and queer studies, Bee is drawn to the obsessive, the transgressive and the other-worldly. Other recent writing includes essays on the smells of sex, death, the new era of plastic surgery for Dazed and reports on emerging cultural shifts for Canvas8.

Bee has written 1 article for us.

5 Comments

  1. I’ll be honest: I was skeptical about this essay. It didn’t seem like a story that would matter to me or draw me in. But I have found myself nodding along, highlighting lines to revisit later, looking up the Olivia Lang quote, wanting to know more about you and your life. These are feelings I have felt too, like feeling that you don’t have control over your body and then trying to get that control back through ways that end up not satisfying that itch. Beautiful work.

    • came here to say something similar. came into the essay skeptical, but i was blown away by what i read.

  2. Not on this level, but had a similar experience with my first queer relationship being commodified. What a head trip! I have always had a hard time with caring too much what other people think, even what friends or family would think if we broke up. Having to also consider my career in those cases, made the relationship last so much longer than it should have. Really enjoyed this.

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‘Heartstopper’ Season Three Is About Queer People Surviving and Thriving

In its third season, Heartstopper continues to be such a sweet, comforting display of queer love. And not just queer romantic love — queer platonic love and familial love, too. It’s so refreshing to have a story about young people where the queerness isn’t designated to a background character or a Very Special Episode. Most of the teens on this show are queer and/or trans, and that’s the whole point.

This season, almost everyone starts out coupled up. Charlie and Nick, obviously, but also Tao and Elle, and Tara and Darcy. Even Imogen and Sahar are paired off in a way on their trip to the beach, leaving Isaac to be paired only with his books. But of course, things aren’t all sunshine and sandcastles for these teens; there are plenty of stressors and dilemmas. Their problems are getting more mature as they start to grow up, turning 16 and 17, including, but not limited to, friendships, relationships, eating disorders and self harm, finding your identity outside of your relationship, the pressures of life, being ready (or not) for sex, and more.

For Tara and Darcy, they’re trying to navigate living together after Darcy left home to escape an abusive and homophobic mother. Darcy couldn’t be happier, but Tara feels like she could use a little space. It’s hard when you’re teenagers, because it’s not like they live in an apartment together; they’re essentially only sharing Tara’s bedroom, and it’s becoming a little much. They navigate it carefully though, and their relationship stays strong.

Heartstopper: Darcy and Tara smile after a kiss

They are just so cute, I cannot.

Darcy also goes on a bit of a gender journey throughout the series. It’s subtle, and in the background, but I think it’s lovely how it progresses. It starts with small things: Darcy not liking when strangers call the group “ladies,” giving away long abandoned dresses, and then wearing slacks with the school uniform. Seems right in line with the Darcy we’ve known the past two seasons. Then it’s a haircut that’s more masc-presenting, and eventually Darcy asks their friends to use they/them pronouns for them and toys around with the nonbinary label. It’s a slow progression over the course of the season, and their friends support them at every turn by encouraging them to be themselves, whoever that is. I also saw an interview with Darcy’s actor Kizzy Edgell, who has been on a gender journey also and now uses he/him and they/them pronouns, where they say they were consulted extensively for this arc.

Heartstopper: Darcy's friends cut their hair for them

I got my first undercut surrounded by friends at a Bad Lesbian Movie Brunch, highly recommend this experience.

Isaac also goes on a bit of a journey with being asexual and aromantic, Elle experiences microaggressions that have her seeking support in her trans art friends, and even Imogen realizes that maybe it’s not a coincidence that most of her friends are queer and that perhaps she’s been performing compulsory heterosexuality this whole time. There are so many little and big queer moments throughout this entire show, and they’re all done so thoughtfully.

The fact that there’s too much to parse out in too much detail, is exactly why I love this show. Very often on TV, a queer character will be the only one in their group of friends. Sometimes their partner will get added to the group in time, but not always. And while that’s common with people who are just coming out, in my experience, it doesn’t stay that way for long. Eventually you seek community and drift away from being the token gay in any given group. Because it can be an exhausting way to live. So it feels more realistic to me that a bunch of the queer kids in this school have found each other and created a bond. Together, they can be themselves, they can be free.

Another storyline that really resonated with me this season was Charlie’s more personal struggles. I saw parts of myself in Charlie as he struggled with an eating disorder and other mental health issues; I saw part of myself in Nick, watching someone he cares about struggle and not knowing what to do about it, wanting to help and fix it yourself, not realizing that’s too much for a teenager to take on; and I saw myself in Charlie’s sister, wanting to do anything in her power to help her little brother but not knowing how. It was a powerful story all around, and watching Charlie learn how to be gentler with himself and start to heal was really beautiful and impactful to me.

One of my favorite things about Heartstopper is how the teens are all having hard conversations. With each other, with trusted adults, with themselves. Even if some of the language is very obviously scripted by adults, these types of conversations are so important to model to teens so they can think about how to talk about these topics in their own lives. Teenagers who are struggling often don’t know how to ask for help because they don’t have words to express what’s wrong. Whether it’s Charlie talking about his eating disorder, Elle talking about her dysphoria around sex, Isaac talking about being asexual/aromantic; these are all the types of conversations that are hard to have, and also the types of feelings that are hard to be experiencing if you’ve never heard anyone else talk about them. They could be feelings that make you feel very isolated and alone if you don’t know that other people feel the same way you do, and a show like this helps spread the fact that it’s actually not weird to feel any of these things.

Of course, it’s not all Big Feelings and Hard Conversations. There’s also plenty of sweetness and cuteness that will have you smiling until your cheeks hurt. There are also some really great jokes (my personal favorite were the ones where Charlie complains about Marvel, since he is now in the hot Marvel project, Agatha All Along), endearing scenes, and all-around fun moments for the kids. There’s also a lot of the teen boys who AREN’T dating each other talking about their feelings and saying “I love you” and hugging each other and it’s just so sweet and honest and emulating a non-toxic kind of male friendship. Plus, the music is, as always, amazing. AND HAYLEY ATWELL IS IN IT. Speaking of Marvel, my darling Peggy Carter, here to be a supportive aunt to Nick.

Hayley Atwell in Heartstopper

I want her to be my therapist.

As important as the heavier topics are, I do think that the moments where Charlie and his friends are all just having fun are my favorite. This group has an adorable gay boy and his adorable bi boyfriend, a trans girl and her boyfriend, an asexual aromantic, a non-binary person and her lesbian girlfriend, a fat bisexual, and a girl who is figuring her shit out, and they’re all laughing and dancing and having a great time together. They’re all happy. That’s the kind of representation we need — there is no shortage of queer tortured teen representation, but the happy ones? The hopeful ones? The ones who have been through shit but are not only surviving but thriving? Those are the ones that are going to change the world.

heartstopper: all of charlie's friends gather around for a selfie

I LOVE QUEER FRIENDSHIP

There’s a moment in this season where one of the adult gay characters, one of Charlie’s teachers, is encouraging Charlie to apply to be Head Boy for his class. He says it would mean a lot to the younger students to see someone like Charlie as Head Boy. As he says this, he sees a young version of himself sitting in the classroom, and that’s how I feel about this series. I’m looking at these happy queer teens and thinking of how much this would have meant to my younger self, how Heartstopper would have changed my whole life. Instead of being sad for her that she didn’t have that chance, I find myself elated that there are kids out there who do now.


Heartstopper season three is streaming on Netflix.

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Valerie Anne

Just a TV-loving, Twitter-addicted nerd who loves reading, watching, and writing about stories. One part Kara Danvers, two parts Waverly Earp, a dash of Cosima and an extra helping of my own brand of weirdo.

Valerie has written 596 articles for us.

8 Comments

  1. I know some people find this series too wholesome or cloying or whatever, but I adore it. I am someone who tends towards darker stories in literature, TV, and books, so Heartstopper is not my usual fare, but each season I am impressed with how they are able to strike a tone that works –– it’s like, yes, is the dialogue often aspirational (these 16yos are so emotionally articulate!)? Are brewing issues often resolved unrealistically smoothly or swiftly (eg., Darcy understanding and accepting why Tara needs personal space, without getting defense or hurt or whatever?). Yes. And yet the genuine sweetness and good humor and focus on connection (romantic, friendship, familial, and intergenerational – I also love the role that the 3 queer teachers/coach play in their lives) makes it work for me, even if at times it requires some suspension of disbelief. One of my favorite parts are the depictions of physical and verbal intimacy among the characters, across queer/gender/relationship lines. (I watch my 5-year-old boy hold hands frequently with his best friend, another cis boy, and I already mourn the day when they may sense it’s ‘not something you do’ with friends…. so Tao and Charlie, Isaac and Charlie, even Nick and Imogen’s friendship are all so sweet).

    Valerie I too think about what it would have been like to be 13 and watching this, and it makes me emotional. When I was 13 I had t.A.T.U. and… Boys Don’t Cry (which I had to watch secretly), I guess? Yikes. Plus Scully of course.

    I am excited to watch Heartstopper again with my 8-year-old before too long. So many of the conversations around all kinds of consent, and accepting people as who they are (and recognizing that that may change over time), and even in season 3 about how much more expansively we can understand the category of having sex as not just about penetration, all feel powerful for young teens to see modeled for them, and articulated, as the show does. Thanks for writing about this!

  2. So much of this season just felt like Alice Oseman on a soapbox. I wish they had been more subtle and shown through story rather than told – eg. I don’t mind earnestness and I think their message is great but I do think it can be shown through realism rather than preaching.

  3. The show seems pretty heavy-handed to me at nearly 30, but I keep watching because of the experience you outline in your last paragraph: knowing how it would have made me feel had I seen it in my youth. Thanks for the review.

    Small but significant correction: Nick is bi not gay (I assume it’s him and Charlie you’re referring to as ‘two adorable gay boys’ – you’re right about them both being adorable though!)

    • You know, you’re right. I was using ‘gay’ as an umbrella term but in this context you’re super right that the distinction is important, I’ll correct that! Thank you!

  4. I agree with some of the other comments. I love so much about this show but parts of it just felt so stilted and unnatural! I think it shines when the actors are allowed to focus on their chemistry and their feelings rather than the more explanatory – I am going to lecture the audience about X thing – parts.

    As an aside, I really struggled with Isaac’s plotline. I adore the actor who plays Isaac and love having more asexual representation. But it just feels like his character feeds into this dangerous narrative that people don’t need to talk to their loved ones about their experiences?? When he said “I don’t want to give a vocab lesson” my head almost exploded. Why are we portraying having intimate conversations about our experiences with the people closest to our lives as something negative?? Yes offensive questions are not okay, but do we really want to tell kids that ANY questions are “asking for a vocab lesson” rather than trying to understand one another???

    • That Isaac exchange you mention really got under my skin too, for the same reasons. Reading these other comments reminded me of a handful of particular moments in season 3 that did feel way overly didactic and stilted… The show has always had an earnest awareness of modeling a different kind of vulnerability, articulation, and sociality for tweens/teens, but the heavy-handedness felt particularly heavy this season even compared to the first two.

      Think back to Olivia Coleman’s response to Nick coming out to her in season 1… even though clearly the dialogue was crafted to make certain points (like her saying “you know you don’t have to like girls” and him insisting “but I do” to insist that he does know himself, he is bi, not just ‘seguing’ from straight to gay), it felt natural and true to the characters. In contrast, there were definitely beats in season 3, like the Isaac exchange, that rang hollow.

      I think when I watch, I ride the chemistry and feelings, as you say, and try to ignore the more rote Queer Teens 101 dialogue, but that probably means I’m too generous in my evaluation!

  5. I don’t feel like the show is too heavy handed with it’s messaging. I’m not saying it’s perfect but I feel like there is a good balance. As someone older, it makes me emotional to know that kids have something like this to watch. I have a bit of sadness that I didn’t have it growing up but more than that, I feel happy that people have it now. It doesn’t any away from difficult themes and topics but it is ultimately hopeful and that can’t be said for a lot of things.

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Kate Hawkins

Kate Hawkins is a city-loving Californian currently residing in New Hampshire with her wife and toddler, where she's currently enjoying sports that require unwieldy pieces of equipment (kayaking! biking! cross country skiing!) and grilling lots of corn. She's stoked to be writing puzzles for Autostraddle and hopes you enjoy solving these gay puzzles!

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Quiz: What Recent Queer Horror Book Should You Read This Halloween Season?

Happy Halloween season! If you want to celebrate bookish style, have I got the quiz for you! Just answer some questions about your autumn / spooky season (reading) preferences and the quiz will match you with a queer horror book. Sapphic vampires, perhaps? Trans body horror? Or maybe a queer zombie romp is more your style. And more! All the options are new-ish books published in the last few years. (If you want more queer Halloween reading recommendations that include some older books, check out my spooky books quiz from 2021 too!)

Let everyone know which book you got in the comments!


What Recent Queer Horror Book Should You Read This Halloween Season?

Which fall literary/art event would you attend?(Required)
Pick a Halloween pun:(Required)
Which setting appeals?(Required)
Which pumpkin treat are you munching / sipping on while you read your book?(Required)
Choose a classic movie monster:(Required)
What type of writing are you in the mood for?(Required)
What’s the scariest?(Required)
Choose a Halloween costume:(Required)
Which treat receptacle are you taking trick-or-treating?(Required)
Which Reddit AITA type description of the book intrigues you?(Required)
Which Halloween season tradition is the most fun?(Required)
Which Halloween craft are you making this year?(Required)
Choose a non-spooky book:(Required)
Choose an autumnal tree:(Required)
Your ideal Halloween party is…(Required)

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Casey

Known in some internet circles as Casey the Canadian Lesbrarian, Casey Stepaniuk is a writer, librarian, and new parent. She writes for Book Riot and Autostraddle about queer and/or bookish stuff. Ask her about cats, bisexuality, libraries, queer books, drinking tea, and her baby. Her website is Casey the Canadian Lesbrarian. Find her on Twitter, Litsy, Storygraph Goodreads and Instagram.

Casey has written 127 articles for us.

9 Comments

  1. Brainwyrms! I’ve been meaning to read this for a while, (Tell Me I’m Worthless was very good), so this’ll push it up the list!

  2. I got The Salt Grows Heavy by Cassandra Khaw

    Queer horror retelling of The Little Mermaid, anyone? This strange, gory novella is a kind of dark fairy tale, with unique characters.

    I do love a queer retelling but may not be up for the gore.

  3. 2nd attempt, I got Grey Dog by Elliot Gish

    “Are you full of feminist rage? Do you revel in excruciating sapphic longing? Have you been a lifelong Anne of Green Gables fan? Then I have the horror novel for you! Set in a small farming town on Canada’s East Coast in 1901, Grey Dog is an extremely satisfying slow-burn story about Ada, a schoolteacher and amateur naturalist…”

    You had me at Anne of Green Gables. Even though I’m probably too chicken to read any of these. ;)

  4. The Salt Grows Heavy? Sounds interesting. Now I need a full list of all the possible results so I can check them all out. :)

  5. I have to plug my queer spooky anthology Lavender Speculation! Only 168 pages and full of dark fantasy and horror short stories including Halloween, witchy and sapphic themes!

    • Casey, rec me some haunted unreliable narrators, please! My favorite (horror) novel is The Red Tree, about a bitter dyke being haunted maybe by her own trauma or maybe by an evil… tree. More pls?

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Horrorscopes: What Queer Horror Film Should You Watch This Month, Based on Your Sign

HORROR IS SO GAY 3

We’ve already told you about the more than 50 queer horror films and shows available to stream this month, but perhaps you were overwhelmed by such a monstrous list. Perhaps you need your very own horror host to point you in the right direction. Perhaps you want the stars to tell you what queer horror to watch. I’ve got you! By combining our latest astrologer Deb’s advice for your sign during this celestial season along with my encyclopedic knowledge of queer horror, I’ve put together a straightforward guide on which horror movie you should prioritize watching this month, based on your sun sign.

Horoscopes can be a useful way of understanding ourselves and working toward personal growth based on our present strengths and weaknesses; horrorscopes, meanwhile, can let us avoid that personal growth by reveling in our own mess and embracing our more, ahem, evil sides 🔪. And doesn’t that sound more fun?! But also don’t forget to refer back to your horoscope for Libra season!


Aries: The Perfection

Streaming on Netflix

Logan Browning and Allison Williams play cello on stage next to each other with an empty audience behind them.

You’re supposed to be taking this time to reflect on your goals and refresh your life, so it sounds like a good time to revel in the psychological horror of perfectionism. That’s at the core of this film set at a prestigious music school where cello prodigy Charlotte has recently been replaced by a new star pupil, Lizzie. This is a sinister and disturbing film, but you can handle it.


Taurus: Scream VI

Streaming on Paramount+

Ghostface

You’re supposed to be shaking up your daily routine this season, and Scream VI knows a thing or two about shaking up routine: It’s the first Scream film set in New York City! It also significantly shakes up the final girl format (much like Scream V does, too). But also let Scream VI be a bit of a lesson for you: While this film does take some big swings, it ultimately could have taken way more risks, so don’t let me say the same about you! Take the bigger risks, even if you’re afraid!


Gemini: Black Swan

Streaming on Max

A close-up of Natalie Portman with bloodshot eyes as she looks at a feather.

This feels like an obvious choice for Geminis in general, given Black Swan‘s duality and doppelgänger-based horror, but beyond that, astrologer Deb writes you could do with a bold wardrobe refresh and boosted confidence this season. You’re kind of like Nina Sayers breaking free of her shell a bit and taking cues from bad girl Lily. Never mind that this could take a dangerous turn, as it does for everyone in Black Swan…that’s for future you to deal with!!!!


Cancer: Sissy

Streaming on AMC+ and Shudder

Sissy

You’re supposed to be embracing self care this season. Sissy is more about the horrific underbelly of self-care influencer content, but just consider this a warning of what will happen if you go too far off the deep end of personal enlightenment.


Leo: The Haunting

Available to rent on Prime

The Haunting (1963)

Astrologer Deb said you should make more time to spend at home, so why not lean all the way in with one of the best haunted house tales ever told? If you’ve already blasted through your annual The Haunting of Hill House rewatch, it’s the right time to go back to this 1963 adaptation of the Shirley Jackson classic. The queerness is more subtextual than in the Netflix series, but it’s still there like a spectral presence.


Virgo: All Cheerleaders Die

Streaming on Tubi

a cheerleader with blood on her mouth

I’m taking the word “transform” from your horoscope and transforming it into a suggestion to watch a horror movie about monstrous transformation! In this film, a squad of cheerleaders — including a queerleader — transform into bloodthirsty beings. Two of them also swap bodies, so there are all kinds of transformations afoot. Embrace it!


Libra: Bodies, Bodies Bodies

Streaming on Max

Bodies, Bodies, Bodies

You’ve got some social energy this season, and you’re supposed to be having some lighthearted fun, so it sounds like a great time for a horror film about a group of friends that mixes its scares with comedy. Before watching Bodies, Bodies, Bodies, you should rope some friends into a party (or, even better, a sleepover) where you play a throwback scary game like Bloody Mary. Then, so long as nothing goes too awry, watch the movie together!


Scorpio: Jennifer’s Body

Streaming on Peacock and Hulu and Disney+ and Paramount+

megan fox in jennifer's body

Again, much like recommending Black Swan to Geminis, this movie rec for Scorpios feels evergreen. But astrologer Deb also writes you should “Embrace the intensity of your emotions as it’s part of what makes you so powerful” and “Focus on feeding the connections that accept both your light and dark sides,” and WELL, that sounds a lot like pulling a Jennifer’s Body to me!!


Sagittarius: Bad Things

Streaming on AMC+ and Shudder

Going on a friend trip was one of the pieces of advice in your horoscope this season, and as far as horror movies about “friend trips gone wrong” go, Bad Things is one of the best! Hopefully your next friend trip features fewer ghosts!


Capricorn: Hellbent

Available to rent on Prime

A knife coming through a door in Hellbent

I’m gonna take the fact that you’re supposed to be buckling down this season to mean you’re supposed to become a little hellbent in your life. Hopefully going after the things you want doesn’t go the same for you as it does for the gaggle of gay men at the heart of kinky, creepy slasher Hellbent. Regardless, this is an underrated film you should get your little Capricorn eyeballs on.


Aquarius: We’re All Going to the World’s Fair

Streaming on Max

We're ALl Going to the World's Fair

You’re on a quest for knowledge, connection, and new experiences this season, and We’re All Going to the World’s Fair is one of my favorite horror films about loneliness and the desperate search for meaningful connection. It’s very unsettling! But I find Aquariuses to be unsettling (in a good way), so it may just be a perfect fit.


Pisces: The Hunger

Available to rent on Prime

Catherine Deneuve holds Susan Sarandon up against a wall.

Well when I saw “surge of passion” in your horoscope this season, I simply knew immediately I’d have to recommend The Hunger, a horror movie so hot that I find it hard to actually feel fear when watching it!


THE THREEQUEL

HORROR IS SO GAY is Autostraddle’s annual celebration of queer horror.

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Kayla Kumari Upadhyaya

Kayla Kumari Upadhyaya is the managing editor of Autostraddle and a lesbian writer of essays, short stories, and pop culture criticism living in Orlando. She is the assistant managing editor of TriQuarterly, and her short stories appear or are forthcoming in McSweeney's Quarterly Concern, Joyland, Catapult, The Offing, and more. Some of her pop culture writing can be found at The A.V. Club, Vulture, The Cut, and others. You can follow her on Twitter or Instagram and learn more about her work on her website.

Kayla has written 901 articles for us.

3 Comments

  1. And I haven’t seen Bad Things, so it’s now a top priority!

    Also, I watched Sissy since last horror is so gay because of y’all, so now i am SO glad to see all this love! it’s truly so good

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Baopu #128: Workout Day

I'm gonna work out today / struggling / jelly arms

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Yao Xiao

Yao Xiao is a China-born illustrator based in New York City. Yao Xiao creates artwork depicting a poetic visual world where complex concepts and human emotions are examined, amplified, and given physical form. Her work has helped people all over the globe connect at unique moments, from the celebration of the 20 Year Anniversary of the SXSW Interactive Festival, to the grand release of pop singer Katy Perry's single 'Dark Horse.' She has created deeply emotional and beautiful graphics for editorial print publications, pop music record covers, concert posters and book covers. Yao Xiao's serialized comic Baopu currently runs monthly on Autostraddle. It is an original comic exploring the nuances in searching for identities, connections and friendships through the fictional life of a young, queer emigrant. Baopu stands for 'holding simplicity,' a Taoist ideal of wishing to return to a simpler state. Find her on Twitter, Facebook, Instagram, Etsy or her website.

Yao has written 134 articles for us.

4 Comments

  1. I just relish every one of these comics! Fun style, spot-on vibe, a breath of fresh air during my day. Cheers :)

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