Lucy confronts Charlotte


Ten years after the debut of the life-altering movie that is Mean Girls, actor Daniel Franzese, who played openly gay high schooler Damian, has come out as gay.

Franzese, now 36, wrote a letter to his character that was published in IndieWire. He asks himself why it had taken him so long to come out as gay, saying that his portrayal of Damian actually set him back in Hollywood and in his own personal coming to terms with himself.

The whole thing is damn insightful and meaningful, but here’s a particularly telling excerpt about how Daniel’s career took an unexpected turn after he played Damian:

One time I wanted to audition for a supporting character in a low-budget indie movie described as a “doughy, blue-collar lug of a guy.”  The role was to play the husband of an actress friend of mine who I had been in two movies and an Off-Broadway play with.  She and I had even moved to L.A. together. I figured I was perfect for it.

They said they were looking for a real “man’s man.”  The casting director wouldn’t even let me audition. This wasn’t the last time this happened. There were industry people who had seen me play you in Mean Girls but never seen me read in an audition but still denied me to be seen for “masculine” roles.

However, I did turn down many offers to play flamboyant, feather-boa-slinging stereotypes that always seemed to be laughed at BECAUSE they were gay. How could I go from playing an inspirational, progressive gay youth to the embarrassing, cliched butt-of-a-joke? 

So, there it was. Damian, you had ruined my life and I was really pissed at you. I became celibate for a year and a half. I didn’t go to any gay bars, have any flings and I lied to anyone who asked if I was gay. I even brought a girl to the ‘Mean Girls’ premiere and kissed her on the red carpet, making her my unwitting beard.  

Why come out now, then? 

It wasn’t until years later that grown men started to coming up to me on the street - some of them in tears - and thanking me for being a role model to them. Telling me I gave them comfort not only being young and gay but also being a big dude. It was then that I realized how much of an impact YOU had made on them.  

Before you make the “too gay to function” joke, which I totally did before I finished reading the article, listen to what he has to say about it:

I hate it when people say I’m ‘too gay to function.’ I know you do, too. Those people are part of the problem. They should refrain from using that phrase. It really is only OK when Janis says it.

It takes some serious guts to be this open about the intermingling of your career and your personal life, especially when admitting that playing a beloved character in a classic movie has impacted you in a negative way. I have loads of respect for this man. Congrats, Daniel. 

vonast asked: why do you think maurice's father was also gay? is it just a headcannon type thing or is there some form of textual evidence to support it?


Hello! Thanks for your question. (Hmm, that’s what happens when I shoot my mouth off by adding comments late at night!)

There’s a textual hint in Maurice the novel (not film) that Maurice’s father may have been gay. Forster doesn’t go into detail: in keeping with his wider approach, he slips in a little phrase that we could easily miss, and the phrase itself is ambiguous. So ‘Maurice’s gay Dad’ is more than headcanon, but a matter of textual interpretation rather than incontrovertible textual evidence.

The relevant passage comes in Chapter 30: just after Maurice’s crisis of ‘lust’ over Dickie Barry, just before Clive phones with the news of his engagement to Anne:

‘… As he [Maurice] sat in his office working, he could not see the vast curve of his life, still less the ghost of his father sitting opposite. Mr Hall senior had neither fought nor thought; there had never been any occasion; he had supported society and moved without a crisis from illicit to licit love. Now, looking across at his son, he is touched with envyFor he sees the flesh educating the spirit, as his has never been educated, and developing the sluggish heart and the slack mind against their will.’

Forster doesn’t specify the nature (or gender) of Mr Hall Senior’s ‘illicit love’ before his marriage. My interpretation that he means m/m love is rooted in a few other details.

(i) Although Maurice isn’t an autobiographical novel, in writing it EMF did draw significantly on his own experiences (e.g. being raised by a widowed mother, the Platonic m/m relationship forged at Cambridge that ultimately disappoints…) EMF’s biographers (especially Wendy Moffat, 2010) state that EMF’s father Eddie (who died when EMF was a baby) was in a very close relationship with a male Cambridge friend, Ted Streatfeild, at the date of his marriage – so much so that Ted accompanied EMF’s parents on their honeymoon(!)

(ii) As a gay man himself, it seems to me more likely that EMF is alluding to m/m, rather than heterosexual, ‘illicit’ love. The word ‘illicit’ might even intentionally operate as a code for ‘m/m’ which EMF’s gay readers (and close friends) would understand but other readers would miss. 

(iii) EMF repeatedly stresses Maurice’s likeness to his father. But the more we’re told that Maurice is ‘just like’ his father – and being raised to duplicate his father’s life path (the same schools, then into the City) – the more that raises the question of whether the ‘like’ includes a homosexual background. 

e.g. In being sent to his father’s old public school (Sunnington, not featured in the film), Maurice is sent to a school that’s had ‘a terrific scandal’ (i.e. sexual activity between boys) just before he arrives, so that during Maurice’s time there the boys are ‘drilled hard all day and policed at night’ (Ch 3). As Maurice is born in the late 1880s, the school clampdown will have been sparked by the Wilde trials and the tightening of British laws against m/m sex (the Labouchère Amendment): EMF himself, b. 1879, experienced a similar atmosphere. Or, to put this another way, the policing of sex between boys was probably slacker in Maurice’s father’s time. :D EMF’s line about ‘moving without a crisis from illicit [m/m] to licit [straight married] love’ would certainly fit that public-school and Cambridge background…

(Source: mithrandy, via mithrandy)

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— Portrait of a Lady (1920), by Philip de Laszlo


— Portrait of a Lady (1920), by Philip de Laszlo


[John on Twitter]





Impossible to reblog this too often. (Well, probably possible. But whatever.) HERE IT IS AGAIN. :)

More Bank Holiday joy from the drafts. :))

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Anonymous asked: Can we see the joke where Nostalgia Critic makes Tamara do the “sexy Dorothy” voice from the Ghost Dad review?

There you go :) [x]