Archive for the ‘Acting’ Category

Camp sexiness meets porn sexiness

September 2, 2023

(Yes, man-on-man sex — and a penis — discussed in street language, with hot photos, so not suitable for kids or the sexually modest)

Through the random confrontations of different things in my e-mail today: camp sexiness from John Travolta, porn sexiness from Skyy Knox and Milo Madera.


Brief shot: three gay porn faces

August 4, 2023

(Well, about gay porn and men’s bodies and man-on-man sex, discussed in street language, so not suitable for kids or the sexually modest.)

Today in my e-mail, a Lucas Entertainment new (gay porn) scene, cropped here so I can focus on the faces:


Bad Dog Mackenzie

July 31, 2023

(Naked men, gay BDMS fetish porn discussed in street language, entirely unsuitable for kids and the sexually modest.)

In today’s e-mail, from the Falcon | Naked Sword Store (with hyphens inserted for clarity): summer cyber-Monday half-off hits on sale (1 day only):


Death of an instar

June 7, 2023

Yesterday’s — 6/6 — Wayno / Piraro Bizarro: “Today’s Theatrical Cartoon”, as Wayno’s title has it:

(#1) An outrageous — I hesitate to say brutal — pun, also learnèd, drawing on the technical terminology of zoology and the rather elevated locution the stage for acting, not to mention knowledge of Shakespeare’s Julius Caesar (if you’re puzzled by the odd symbols in the cartoon — Dan Piraro says there are 6 in this strip — see this Page)


Happy P Day, Mr. President

February 20, 2023

(men’s bodies and sex between men, illustrated just a bit shy of a X-rating and described in vivid detail in street language — tons of F for P day —  so entirely unsuitable for kids and the sexually modest)

It’s Presidents / President’s / Presidents’ Day — P Day, for short — in my country, and suppliers of gay porn flicks have mounted P Day sales of their wares. Their ads sometimes display an image from such a flick, ornamented with patriotic symbols (American flags, stars, plenty of red, white, and blue); the image itself usually has nothing whatsoever to do with P Day, but is an illustration of the deeply satisfying fantasy sex a man-desiring man can get off to by watching one of the flicks on sale. Often the sale ads are just gigantic displays of the covers of the merchandise, so you can search for what might work for you by scanning the titles and cover photos.

Two images from this year’s crop of P Day sale ads. One, from the Falcon company, shows an image of Flying Cowboy, an image in which a grateful citizen thanks his President by serving as the receptive partner in this acrobatic approach to anal intercourse. (The emotional landscape of the actual act is very different from this: the President is working hard to provide pleasure for his constituent.)

The other image is just one of the many covers in the Gay Empire ad for its P Day sale — a cover for a costume flick about pedication among the Norsemen.

This is the end of the careful talk in this posting. Below the horizontal line, and then the fold, is where the wild things have sex.


Angela goes to dance camp

February 2, 2023

(It’s the morning of Groundhog Day 2023. American families: do you know where your marmots are?)

The late Angela Lansbury, starring in a glitzy television production as the introduction to the 1973 Academy Awards show: a 7-minute extravagant celebration (in three parts) of show business glamor.

Now, the Academy Awards shows are already spectacles of Hollywood’s rapturous self-congratulation, always teetering on the edge of self-parody, but for a while in the 1970s and 1980s, the brakes on spectacle were off, and we got Oscar openers that could, just barely, be read as fabulously glamorous, but were always open to being interpreted as camp — earnest, usually unintended, but definitely camp.

Sometimes, as in 1973, surely intended.

In any case, the star vehicle for the 1973 opener was Angela Lansbury.

(#1) AL’s 1973 Oscars apotheosis: Star Descending a Staircase, packing into a few moments a whole fabulous universe of allusions to stage musicals, extravagant choreography, movies, stylized glamor, carnival, and flagrant camp

I’ll start with a brief 2016 review of the show, go on to some chat between Aaron Broadwell and me last October on the show as profoundly gay, and take it from there, with a special tribute to AL as one of the great character actors of all time.


Death of a character actor

February 2, 2023

A death notice for Angela Lansbury (last October) and appreciation of her achievements: in The New Yorker, “Angela Lansbury Shimmered Through the Decades: The actress, who died this week at ninety-six, revealed every facet of her talents” by Michael Schulman on 10/12/22 — which I reproduce here so that I can refer to it in a separate posting I’m doing on an AL performance from 1973. I would like readers of the other posting to read Schulman’s piece and take it to heart, because it makes such an important point about AL — that AL was one of the great character actors of all time, her genius being her ability to fully inhabit whatever part she was playing, to be that character, with no hint of showing off how wonderfully she was playing that part.

It follows that if she appears to be guying us, wink-nudging her acting ability at us (something that Meryl Streep, for one, is inclined to do), then that’s because that’s the character she’s playing, that’s who she is in the scene we’re watching; she’s showing us that her character is an impersonator.

Schulman’s piece is an extended appreciation of this genius of hers, so I want it in my AL-1973 posting, but it’s much too long to just insert into the middle of that posting, so I’m providing it here as auxiliary material.

From here on, it’s all Schulman.


The logic of syntax

March 27, 2022

I had two postings in preparation about moments of great joy from yesterday: one from the music that greeted me on awakening in the morning; the other from the plants in Palo Alto’s Gamble Gardens, visited yesterday morning on my first trip out in the world for many weeks.

Then fresh posting topics rolled in alarmingly, and a search for background material led me by accident to a great surprise, a link to a tape of a public lecture (a bit over an hour long) at Iowa State University on 4/11/90, 32 years ago. Title above. The subtitle: Thinking about language theoretically.

I listened transfixed as the lecturer, speaking to a general university audience, took his listeners into the wilds of modern theoretical syntax, along the way deftly advancing some ways of thinking that guided his own research. An admirable bit of teaching, I thought. With some pride, because that lecturer was, of course, an earlier incarnation of me.


Follow-up: on punctuation

February 18, 2022

From my 2/13/22 posting “On punctuation”:

Encountered recently in an interview, by writer I, of actor X, about X’s approach to their craft. The exchanges below are about punctuation, specifically in scripts; X reads other things, of course, but scripts are the central reading material of an actor’s life, the stuff they use to transform, through a collaboration with a director and other actors, into performances.

… punctuation can be a stumbling block, so they take it out. I’s note at this point:

This seems to be the master key to understanding X’s highly idiosyncratic line readings.

This is David Marchese interviewing the actor Christopher Walken in The New York Times Magazine, in print 2/13/22, p. 14.

Now, on Walken.


On punctuation

February 13, 2022

Encountered recently in an interview, by writer I, of actor X, about X’s approach to their craft. The exchanges below are about punctuation, specifically in scripts; X reads other things, of course, but scripts are the central reading material of an actor’s life, the stuff they use to transform, through a collaboration with a director and other actors, into performances.

If you’ve read the interview, you’ll know who X is, but I’ll conceal their identity for the moment, to let their remarks on punctuation wash over you. It would be an interesting exercise to hear the views of the writers of those scripts and the directors of their performances.