Go Fuck Yourself, I Liked the RHPS TV Tribute.

On Thursday, a new TV-broadcast version of the cult classic musical The Rocky Horror Picture Show aired. Among my friends, associates, followers, and peers, its very existence that day seemed to bring out the worst in many of them. Almost immediately my timeline on Twitter and Facebook was filled with disdain, hate, and negativity directed towards the project. And though I knew I wouldn’t be able to watch until Friday night, I could already tell that the negative reactions were absolutely not warranted. 

Flash-forward to today, when I watch the production at home with my fiance, and just sit baffled and kind of pissed at all the hate I saw people spewing towards the show. In no way was it a perfect production, but since when was RHPS ever about being perfect? So I’m here just to take a stand against what I saw as an unwanted, unneeded, and misguided wave of negativity towards the adaption. In short….


Let me explain why.


Go Fuck Yourself, Laverne Cox Did Just Fine

Okay, maybe she wouldn’t have been my first choice, but by no means did she do a bad job. She was weird. She was sensual. She was attractive. All qualities I remember seeing in Tim Curry when I saw him as the mad doctor. I also dug the clear Gaga and Tina Turner influences she brought to the role. Sadly, the biggest complaint I’ve seen coming from people is that a woman shouldn’t play the character of Dr. Frank N. Furter and that pisses me off. The character is clearly meant to be the very epitome of gender fluidity and pansexuality. Literally anyone could play this role and it shouldn’t be an issue. Shut the fuck up.

Go Fuck Yourself, the Rest of the Cast Was Cool Too

I had a hard time with the modernized depiction of Columbia, and wished Adam Lambert’s Eddie had gotten more screen time, but other than that, I thought the cast owned their roles while still managing to pay respects to the iconic actors that are known “as” those characters. Special shout-outs to Victoria Justice, Ryan McCartan, and Reeve Carney; I loved their incarnations of Janet, Brad, and Riff-Raff.


Go Fuck Yourself, the Music Changes Were Cool

When ‘Touch-a, Touch-a, Touch-a, Touch Me’ started out with that slight country guitar twang, I was all over it. And the Floor Show I thought was just amazing. I could have done without the changes to Rocky’s ‘The Sword of Damocles’, but otherwise I had no major complaints. 

Go Fuck Yourself, It Reminded Me of My First Time

I say The Rocky Horror Picture Show for the first time… on TV! Yup. A few days before Halloween, just like this, in a dark living room. It aired on VH1, and this was back in the mid 90’s when the channel had been… sufferable. I watched it alone, as a young gay kid with very common young gay kid feelings, and even though it had clearly been sanitized for broadcast (even though it aired around 10pm), the story spoke to me and I was a fan from that very night. Nothing about this new production made me feel like I was watching something that “wasn’t the same”. I didn’t feel let down, or ripped off. I felt weird and happy.

Go Fuck Yourself, It Didn’t Sacrifice Sexuality for TV

This was a complaint I heard very often in the past 24 hours, and the one I was actually expecting to be true and to possibly be the one thing to drag the adaption down. After all, a major theme of the cult film is about sexual expression, so how could an adaption work without being somewhat sexual? Turns out, people don’t know what the fuck they’re talking about. This televised adaption had cleavage galore, legs spread everywhere, pelvic thrusts non-stop, and very clear scenes of same-sex touchings. The only noticeable deviations I can recall are the absence of Columbia’s nipples and the tight shorts/undies on Brad and Rocky. 


Go Fuck Yourself, It Was A MAJOR Win for Queer Acceptable Television

Rainbows everywhere, a transgender lead, and noticeable same-sex flirtations – for being on a major network (FOX of all places) and not airing past 9pm, this was a huge win for alternative sexuality being broadcast on a national level. Want to argue? Please give me examples of shows a family (or a young queer kid, hiding in their room alone before bedtime) could watch without also having to subject themselves to nudity, profanity, and violence. 


Go Fuck Yourself, You Should Be Ashamed

Didn’t like it? Well, I’m sorry for you, but that’s your right to have such an opinion. Of course, it’s also my right to say that if you bash this, you’re a real shit RHPS fan and should know it. The movie, the stage show before it, and its amateur weekly productions world-wide keep certain themes and elements alive and sustained; acceptance, equality, freedom, expression, self-love, love for others, understanding. I could go on. But by bashing the television adaption down with so many negative comments, you’re slowly taking away from that magic. You’re making the film and story something that suddenly seems untouchable and sacred, which it never was, never has been, and never should be. It’s a story for everyone. A production proudly in the (for lack of a better term) public domain, that for years has included all kinds of outsiders and outcasts. So to say this adaption should have never happened is to say that the messages behind Rocky Horror should stop being spread, and I cannot stand by it.

Go Fuck Yourself, Brad Majors Gifs Because Daaaaammmnnnnnn


If Aaron Dies, I Riot

It’s October now, which means a few things. Fall has begun, pumpkin spice is everywhere, Halloween is on its way, and The Walking Dead will soon be returning. The seventh season is set to premiere Oct 23rd and it’s promised to be one of the biggest premieres in the show’s history. Not only has a fan-favorite villain entered the mix, but last season’s cliffhanger finale showed us that a main character had clearly met their end by his chained baseball bat. Of course every fan and every entertainment news source has since posted about how they’ve cracked the formula and figured out who died, but it’s all speculation and click-bait. No one knows for certain.


In the finale, the line-up of potential victims included beloved primary characters Rick, Daryl, Carl, Michonne, Maggie, and Glenn – popular secondary characters Abraham, Sasha, Rosita, and Eugene – and then there was also the relative newcomer, Aaron.

I’ve personally stayed away from most of the “news” and rumors fans and writers have been spreading around since that finale, but I’ve seen enough to know that the majority of people are expecting the victim to be revealed as either Glenn, Daryl, Abraham, or the pregnant Maggie. I can support these theories easily enough, as the deaths would be shocking to fans AND it would make financial sense as far as the show’s production is concerned. That said, I can’t help but imagine the deaths of the other characters and the impact each of their departures could potentially have on the show. And from that realm, I now only worry about and focus on the one option I feel is not often discussed when it comes to the mystery of ‘Who Did Negan Kill?’

Aaron, the openly gay recruitment scout from the Alexandria community.


I’ve already spoken to how lackluster TWD is in developing its queer characters (something that has so far not been an issue in Fear the Walking Dead), but the idea that Aaron could be the one who was killed in the finale really concerns me.

Not only would Aaron’s death mean the departure of another strong gay character on a major television show, something that has been discussed harshly by queer viewers within the past years, accompanied by the hashtag #BuryYourGays, but it would technically make him the second queer character to bite the dust in the sixth season of the show (Denise, Tara’s new lover, was the first).

Aside from the simple fact that loosing him would just plain suck for the small-but-growing array of queer representation on television, it really wouldn’t even make sense. The finale was so brutal, so tense and frightening, and the cliffhanger left viewers with wracked nerves and big expectations. When the show comes back this month, we’re all expecting something heartbreaking and story-changing. We’re expecting Maggie to be sitting beside Glenn’s grave or for Carl to have inherited Daryl’s crossbow or for Abraham to be drinking away the memory of Sasha or Rosita’s death. But Aaron…?


Aaron is the newest and least developed character in Negan’s line-up. He was introduced just two seasons ago and has definitely not completed a story arc of any major note. For fans of the show who don’t necessarily have much invested into Aaron’s character, his death could seem like a “safe” choice for the show to take; at the most, they might take it as a rip-off, a payload not worth the long delivery time between seasons. In other words, his death would be the least impactful to the show’s narrative.

For fans of Aaron though, like myself and undoubtedly the many other gay fans of the show, his death will mean being cheated out of a strong, resourceful, stable, and likable gay character we can identify with and who clearly has more story left to be told.


I’m definitely trying to stave off the feelings of potential disappointment until the new season’s premiere shows us definitively who was killed, but I can’t help but remember how so recently I was burned by TWD in its handling of Denise. If Aaron does die, it won’t be enough for me to abandon the show completely – I’m too invested in other characters and subplots – but it’ll definitely be a long time before the bitterness and sense of failure in the show-runners goes away. (If at all. I’m a grudge holding expert.)

Think it’ll be Aaron who was dispatched by Negan, or do you think he’s safe? I’d love to know your thoughts. Also, Happy October!!!

Male Rape – A Vanishing Taboo?

Rape, despite its disgusting and revolting essence, has a strong place within the the storylines of the horror genre. It (usually) adds depth to tormented final girls, it acts as a catalyst for tales or revenge, and will normally be present on any “Favorite Exploitation” list out there. This is perhaps not surprising, as horror is meant to disturb and frighten us. It’s as common as any other real world terror in fact; the loss of a child or spouse, the loss of mental faculties, the pitfalls of falling in love with the wrong person, and even just the random acts of violence (like rape) that happen day in and day out.


As how I suspect most genre fans may feel, I often find myself in the middle ground when it comes to the display of rape in film. For some, I definitely think it drives the stories and motivations of characters, like in The Last House on the Left, Straw Dogs, or Eye for an Eye. In others, it just seems to be there for no other reason than shock value, like Eli Roth’s Aftershocks or Rob Zombie’s Halloween. And time and time again, it’s inclusion will divide audiences into “that was needed” and “that was unneeded” oppositions.

This intro though is not meant to debate the presence of rape in genre films, but instead to act as a lead-in to discuss an even smaller facet of the plot point: male rape.


Undoubtedly, everyone will quickly recall the most obvious and popular example of this: Deliverance. I saw the movie myself at a young age, after my mother explained to me what I would see if I watched it, and was strangely captivated. Men are just as much victims of being slashed and possessed in horror films as women are, but still rare is the notion, much less the portrayal, of a man being raped. I could go on about the reasonings behind this, from the fact that males are most often the aggressors of sexual violence to the fact that even male-on-male rape is seen as “gay” and thus discouraged in mainstream Hollywood. But instead, I’d rather take a look at the other cinematic examples of this ordeal, and bring up their merits, if any.

Let’s first get into a cliché of male rape; ‘The Redneck Male Rapist’. Like in Deliverance, there have been several instances of men who come from some backwoods culture becoming the aggressors of other men through both physical and sexual violence. How this even become a trope, who knows? I can only imagine it’s because there’s the base cliché about anyone from the rural reaches of the world being uneducated heathens who lack the same cultural constraints those from the cities and towns possess. But the presence is notable (albeit, mostly in comedies) and continues to survive in film.


Several years ago, the hit show The Walking Dead brought this trope to life on our TV screens and to mainstream audiences. It occurred in season 3, when Rick, Carl, and Michonne randomly come across the group of men that a lost Daryl has been traveling with. The encounter quickly escalates… to murder and threats of rape. As expected, Michonne is a target of this latter threat, but then, unexpectedly to many, so is Carl. The men threaten to make Rick watch as they rape his own son! It was a disturbing bit of dialogue, made even more repulsive by the heavyset, dirty lunkhead holding Carl by the neck, but I felt it did help strengthen the idea that the apocalyptic world TWD exists in is one of extreme brutality and disturbing inhibition. The show never explicitly states that these men are backwoods hillbillies, but it’s not a hard stretch when you consider TWD‘s mythology includes the destruction of major cities and towns early on, leaving mostly rural survivors roaming the zombie-infested backroads. (As expected, this implication did NOT go over well with Rick Grimes.)



An even more recent example, we had the low-key thriller Catch Hell. Ryan Phillipe, still hunky and fine as ever, plays mid-grade Hollywood star Reagan, set to film a movie down in the deep South. However, it turns out a pair of backwoods boys have different plans in store for him. At first, those plans just include kidnapping, blackmail, and a few “stay in line” beatings, but then start turning more complex when the dimwitted half of the duo begins to “enjoy” the actor’s company. At first, it’s just some awkward idolization, but eventually Reagan is drugged and nearly raped by his redneck fan.


Another trope about male rape is when it’s used in a revenge scenario. The Rosario Dawson rape-revenge thriller Descent is a popular example, in which her character (having been raped earlier in the film) gets her final vengeance by convincing a large male acquaintance to enact the same crime upon her rapist. The indie horror Torched also utilizes this device, among many brutal others.

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Straightheads, aka Closure, starring the amazing Gillian Anderson, also tackles this idea of revenge, but instead of using another male as her weapon after being raped, Anderson’s character uses the barrel of a rifle to rape her rapist. A few of the I Spit on Your Grave films also make use of this form of retaliatory rape through use of inanimate objects.


Another facet of fictional male-on-male rape sadly comes from the more common instance we hear on the news or through true crime media; adult predation upon younger males. Extending the reach of genre films to include crime thrillers and dark dramas, you’ll find a long list of films that include this plot point: The somewhat-true crime story of Sleepers is a notable example. In it, several young boys are victims of constant sexual assault during their time at a reform school. Years later, some of them have become hardened criminals who happen to get their chance for revenge. Gregg Araki’s Mysterious Skin also tackles the subject, and gives us two male characters who respond and grow from their sexual attacks in very different ways.

Kevin Bacon Sleepers

In a broad context, it’s interesting to see the ways in which the rape of males differentiates from the rape of females within genre films. Women are most often the victims of the rape, who use it as a jumping off point for their character’s just and vengeful true selves. Their rapes are also very violent and prominent within the film. Male rape however often seems to come back as a form of punishment, and the depictions of it are usually shown off-screen in a strange version of sexism and decency. A disturbed part of me wonders if in the future the inclusion of male rape will reach the levels that female rape depictions have now, in which they’re strangely common in films that don’t really need to include them. But a hopeful part of me is looking forward to a film future where rape in general is only handled proficiently and with purpose, rather than just an intent to be extreme (ahem, Payton Collins: Serial Rapist).

NOTES* – I purposefully left out examples of prison rape in film, as they are fairly common but serve a different function outside the horror, suspense, thriller, and dark drama genres. I also did not include several popular indie films, since I wanted to discuss more mainstream attitudes toward cinematic male rape. Lastly, I am aware of many other foreign films featuring this plot device, but did not include them either, as frank sexuality and all that comes with it is still lacking broad acceptance with American audiences.

The Perverted Shorts of Armando Munoz

Eek Entertainment is the production company birthed by the wonderfully sick, twisted, and perverse (these are compliments) Armando Munoz. Mainly creating short films of varying lengths, he pushes the boundaries in almost every second of every scene. You will be uncomfortable. You will hate that you keep watching. And you will grin like a dummy the entire time.


The Killer Krapper

Imagine, if you will, a low-budget John Watersesque short about a possessed toilet. One that gets a taste for blood. And… um… that’s it. That’s what the 8 minute short is. Not really anything that vibes with me, but it’s played plenty of festivals and even won some awards, so the audience for Killer Krappers exist!



A foam-faced Nosferatu stalks a woman at night, but he’s after more than blood. He’s there to tantalize, torment, disgust, and pervert her very soul! This black-and-white short stylistically reminds us of a time lost to the horror genre, but is no less funny and vulgar than any other of Munoz’s films. As I watched, a smirk crossed my face with each gag… and then I stopped smirking when I found myself eerily unnerved by the short, proving even a comedic horror-inspired short can be effective in the middle of the night.


The Terrible Old Tran

Probably my favorite of all of Munoz’s shorts, which isn’t surprising since the Lort knows I love it when bad, pervy things happen to men. This story follows three burglars who intend on robbing the home of a man who may or may not have a tentacle cock. A very 80’s midnight movie vibe with this one!


Panty Kill

A very Halloween-ish slasher short about a killer with a panty-covered face. The perv, at first, just seemingly wants to be a freak and rip up some chicks undies, but turns out he’s just as bloodthirsty as any other slasher. Oh, also, he has a nice cock. That’s a part of the story. Because of course it is.


Mime After Midnight

A woman misses her night bus home and then encounters a strange mime on the sidewalk. At first she indulges him, but when the mime takes her insults to heart, the short quickly dips its toes into comedic slasher territory. Fans of the love it/hate it VHS Viral segment, Dante the Great, will love this kooky horror tale.


Munoz is definitely a perverted filmmaker, but a talented one as well. Through gags and gross-outs, he creates visual art, and that’s so important in a genre climate when many people delve into the industry merely to make a quick buck, or forget that they are artists first before filmmakers.


Right now these shorts can be caught at selected festivals, and you can keep up with Munoz at http://eekentertainment.blogspot.com/ and at http://www.eekentertainment.com/.

Horror Hunks Who Should Have Lived – pt 3!

There’s nothing worse than the death of a hard, hunky man, but sadly, in the horror realm, it’s an often occurrence. So let’s wander down memory lane together and remind ourselves of the hotties we’ve lost along the way.

NovakPiranha 3D: Adam Scott played a hunky nerd in Piranha, not a stretch as he’s played the cliché before, but it didn’t make his last minute exit any less unfortunate. And let’s face it, the shitty sequel Piranha 3DD could’ve used him to have some sort of saving grace.


Roger – Dawn of the Dead: Easy going, zombie apocalypse survivor Roger was part of a good team, but the world of the dead is a dangerous one. One little love bite on the leg sealed his fate, but even once those cards were dealt, Roger handled his situation like a real man, making us care for him all the more once he finally succumbed to the disease of the dead.


Captain SpekeWorld War Z: You’d be forgiven for not remembering him, but remembering the ‘body count’ hotties of horror movies is something I happen to excel at. And this bearded military stud is a great example of just how casually wasteful the genre is with its men.


Tommy RossCarrie: Oh, Tommy; the shaggy blonde with a good heart. Sue was lucky enough to have found such a guy in high school, because lord knows we all just found the losers, but his fate was sealed once he asked Carrie to prom. His death was not only sad, but surprising too when you consider what a great guy he’d been.


MichaelDawn of the Dead 2004: Well, it seems I unintentionally wound up with a lot of zombie bitten hunks this time around, but hey. Who’s complaining? Michael was daddy af and was a crazy perfect combo of brave, protective, capable, and smart.


Tom & TommyNight of the Living Dead 1968 & 1990: I can’t include one without adding the other, because honestly both incarnations were equally cute in the boy next door way. Black and White Tom was soft-spoken, rational, and had good arms, and In Color Tommy was an adorable, yet dumb, redneck. Too bad they both wound up crispy snacks for the living dead!

Eric – Evil Dead: Curiosity killed the cute nerdy type who decided to read from the Necronomicon. And damn, it killed him hard. Poor Eric seemed hellbent on surviving the ordeal there in the woods, but a hunk can only loose so much blood!


So there’s the third crop of dead hotties folks, and trust, I’ve already got another batch ready for another future post. Til then, shoot me you own favorite lost men of horror! Maybe they’ll be in a future memorial post!


Happy Anniversary- Simon Graves

Just two posts back, I mentioned a couple of short fiction tales I’d come across, both within the gay horror/queer fear subgenre. One was Happy Anniversary, a story by author Simon Graves, and it proved to be an eerie little shocker. Think a gay-orientated episode of The Twilight Zone!


Flash forward to just now, and Simon has announced he’s set up a GoFundMe fundraiser to bring this short story to life as a short film. Here’s a bit from his release to explain further:

“Hello, my name is Simon, and I’m a gay writer who needs your help to turn one of my short stories into a short film. This project means a lot to me personally and professionally.

Happy Anniversary tells the tale of a relationship that has been on the rocks for some time. Convinced his boyfriend is being unfaithful, Bo follows Elliot one night to get the answers he needs even if the truth might be more than he can bear. 

The story has been adapted to a short script with the help of David Gregory (Powder Burns, OLTL), and our script recently won for Best Screenplay at Outlantacon ‘s Film Fest! The next step is bringing the story to the screen. That’s where I need your help. After talking to a few production companies, we arrived at a modest budget to cover cast, crew, locations, etc. Currently I have half the money saved up but need help raising the other half. All funds raised will go toward production costs and creating the best short film we can!”


Some thank yous for contributions include crediting, HD copies of the film upon completion, and you can even become a character in one of Simon’s next works! However, the real reward will be the mere presence of MORE queer fear narratives out there, championing for our place within the horror genre! 

You can read the original short story here Happy Anniversary – Amazon (free for Kindle Unlimited users!) or buy the audible short (which is how I took in the story) and, if you believe this could be a great project, head on over to the funding page: https://www.gofundme.com/29f09dg

Horror Eleganza – Rodarte: Psychological Fashion and Horror


Rodarte is a fashion brand that make strike a note of familiarity with horror fans because of their involvement and collaboration with the costume design for the psychological thriller, Black Swan. However, the brand has hit notes of horror a few times before, including looks inspired by classic Gothic aesthetics and even modern J-Horror.

Upcoming from the sisters who head the brand, is not even fashion (though I doubt that ever stops anyway), but a film instead. Another psychological thriller entitled Woodshock, with Kirsten Dunst.


Not too much is known about the film, but the plot-line involves a “woman who falls deeper into paranoia after taking a deadly drug.” The film is slated for a 2017 release.