Sarah

Shaidrian Rios

Jimmy Beans

Julie Wynne - videos

Kapuster

angel smith

Nicky Tallon

Harini Sen

Vastralaya

Evan Shively (Perseus271)

Edgar Colt

Vitor Miguel

A roadmap to sex and gender for the twenty-first century, using Lady Gaga as a symbol for a new kind of feminismWhy are so many women single, so many men resisting marriage, and so many gays and lesbians having babies?  In Gaga Feminism: Sex, Gender, and the End of Normal, J. Jack Halberstam answers these questions while attempting to make sense of the tectonic cultural shifts that have transformed gender and sexual politics in the last few decades. This colorful landscape is populated by symbols and phenomena as varied as pregnant men, late-life lesbians, SpongeBob SquarePants, and queer families. So how do we understand the dissonance between these real lived experiences and the heteronormative narratives that dominate popular media? We can embrace the chaos! With equal parts edge and wit, Halberstam reveals how these symbolic ruptures open a critical space to embrace new ways of conceptualizing sex, love, and marriage. Using Lady Gaga as a symbol for a new era, Halberstam deftly unpacks what the pop superstar symbolizes, to whom and why. The result is a provocative manifesto of creative mayhem, a roadmap to sex and gender for the twenty-first century, that holds Lady Gaga as an exemplar of a new kind of feminism that privileges gender and sexual fluidity. Part handbook, part guidebook, and part sex manual, Gaga Feminism is the first book to take seriously the collapse of heterosexuality and find signposts in the wreckage to a new and different way of doing sex and gender.

A fascinating collective memoir of the lives and experiences of transgender people, in their own voices.Although transgender people are increasingly represented in academic studies and popular culture, they rarely have the opportunity to add their own voices to the conversation. In this remarkable book, Jackson Shultz records the stories of more than thirty Americans who identify as transgender. They range in age from 15 to 72; come from twenty-five different states and a wide array of racial, religious, and socioeconomic backgrounds; and identify across a vast spectrum of genders and sexualities.Giving voice to a diverse group of individuals, the book raises questions about gender, acceptance, and unconditional love. From historical descriptions of activism to personal stories of discrimination, love, and community, these touching accounts of gender transition shed light on the uncharted territories that lie beyond the gender binary. Despite encounters with familial rejection, drug addiction, and medical malpractice, each account is imbued with optimism and humor, providing a thoughtful look at the daily joys and struggles of transgender life.

“Eli Clare works a vital alchemy. . . . Using the language of the elemental world, he delineates a complex human intersection and transmutes cruelty into its opposite—a potent, lifegiving remedy.”—Alison Bechdel, author of Fun HomeFirst published in 1999, Exile &amp; Pride established Eli Clare as one of the leading writers on the intersections of queerness and disability. With this critical tenth-anniversary edition, the groundbreaking publication secures its position as essential to the history of queer and disability politics, and, through significant new material that boldly interrogates and advances the original text, to its future as well. Clare’s writing on his experiences as a genderqueer activist/writer with cerebral palsy permanently changed the landscape of disability politics and queer liberation, and yet Exile &amp; Pride is much too great in scope to be defined by even these two issues. Instead it offers an intersectional framework for understanding how our bodies actually experience the politics of oppression, power, and resistance. At the heart of Clare’s exploration of environmental destruction, white working-class identity, queer community, disabled sexuality, childhood sexual abuse, coalition politics, and his own gender transition is a call for social justice movements that are truly accessible for everyone.Blending prose and theory, personal experience and political debate, anger and compassion, Exile &amp; Pride provides a window into a world where our whole selves in all their complexity can be loved and accepted.An award-winning poet and essayist, Eli Clare is also the author of The Marrow’s Telling.

This was a fascinating, and sometimes heartbreaking and infuriating, look at the GLBT men and women who came out while serving in the armed forces during WWII. It includes information on being gay on the home front as well.In the 1940's, sodomy was a criminal act in the United States. Although there were many people who were openly gay, and who were often ignored or tolerated by society as long as they kept their preferences discreet, it was a precarious existence. At any moment someone might object to a gesture or even a look, report you in the wrong quarters, and the result could be a long prison sentence.In the armed forces, things were no less precarious. With the draft, GBT men were given no choice about joining up. Many also volunteered, wanting to protect their homes and loved ones from the threat overseas. The war brought those men, and the women volunteers in female units, into close contact with members of their own sex under conditions of stress, fear and isolation from home. And then forbade them to fall in love, or in lust. Naturally, many of them did anyway.Military reactions were unpredictable. Being gay was still considered a mental illness (sexual psychopathy) and was a reason for rejection from the armed services. Psychiatrists even talked about two other forms of homosexuality - paranoid personalities who suffered "Homosexual panic" and schizoid personalities who displayed "homosexual symptoms." Recruits who admitted to being gay at intake might be just rejected, or they might be labeled psychotic and psychoanalyzed, or even disbelieved as malingering and sent off to basic training. And those who did not come out at their intake interview received almost as mixed a reaction once they began to serve.With large same-sex groups living together, some homosexual behavior was condoned. The shows that were put together to entertain the troops almost all included performers in drag, and camping it up might be taken with amusement. Or it might not. There was often a gay subculture where men or women in the know could meet and interact. But there was always the risk of being found out.Many of the men and women were confused and afraid of their own sexual leanings. Some only became aware that they were gay from the enforced same-sex contact they experienced after enlisting. Some consulted Armed Forces psychiatrists. They received little in the way of real help in understanding themselves, given that homosexuality was considered a pathology. At best they might find a sympathetic ear. At other times the psychiatrists, who were charged with reporting a man's or woman's fitness for duty, might betray and report them.The stress had to have been extreme. On the front, men saw their lovers maimed and killed. Some were fortunate enough to have a blind or even sympathetic eye turned by the "normal" men around them. In forward units, camaraderie between the men often overrode other considerations. Other men who lost lovers felt unsafe even admitting their pain and forced themselves to carry on as if their heart hadn't just been ripped to shreds. And they never knew when some zealot might accuse and expose them. Which might result in a commanding officer looking the other way and telling them they were valuable to the unit and to just keep it under wraps. Or which might end in a formal charge.Once trapped in the machinery of a sodomy charge, conditions could be brutal. Men were sometimes put in chains, transported under the guns of soldiers who might be bigoted enough that the gay man wondered if he would get out of the transport alive. They were imprisoned, sometimes under severe conditions, often in a form of solitary confinement to prevent them from having contact with any other men. They were lumped together with all the other criminals. Article 93 called for similar treatment for "manslaughter, mayhem, arson, burglary, housebreaking, robbery, larceny, embezzlement, perjury, forgery, sodomy, assault (including rape)..." Gay men might be treated even more harshly than the criminals, in some cases forced to sleep with the lights on 24-7 to theoretically prevent sexual acts. Some were abused, or forced to provide blow jobs to their supposedly heterosexual guards. The women were similarly treated, sometimes even more extremely reviled by their comrades in arms and their officers. In a vicious cycle of feedback, some of the gay men under arrest became more campy than they had ever been before, perhaps to show that they could not be broken or made less gay by the treatment. That raised distaste in some straight officers and men. Gay men still in the closet in the forces were both painfully sympathetic and embarrassed. Visiting a man arrested for sodomy was risky, as you might end up suspect yourself. Arrestees were asked to report on everyone they had encountered in situations where homosexual activity was taking place, and were sometimes made to sign dictated confessions of sodomy and homosexual activity with other named individuals.Despite all this, many gay men and women served throughout the war with distinction. Some high level officials objected to the stigmatization of the gay soldiers under their command. But many did not. After the war, arguments continued to rage over the release of Armed Forces personnel records to organizations like the FBI, which was charged with "ensuring public safety by identifying the homosexual menace". As the post-war climate became even more hostile to gays, some records, personal letters, confessions and medical files were passed to the FBI and the police, especially from the offices of Naval and Army intelligence. Men and women who had passed through the war unscathed might find themselves the target of law enforcement.This book is long, well referenced, and painful to read. The one light at the end of the tunnel is the realization of how far we have actually come in half a century. Gay marriage is legal in several US states - how sweet that is, coming from a position where being gay was considered insane and criminal?I was left with a sense of awe. These men and women risked so much, just for being who they were. That they lived and fought and served, and also loved and laughed and danced, is a tribute to the human spirit. Humans have such capacity for cruelty to each other, and such capacity for love. Please God, that we are moving away from one toward the other.

Reread this as it was the main textbook of a Queer Film undergrad class I helped out with last semester, and my initial reaction was more or less confirmed: when analyzing LGBTQ representation in classic Hollywood and other early cinemas Russo is as enlightening as he fun to read, but when he gets to post-Code representation he goes into Righteous Anger mode and it just all starts getting very numbing and increasingly unnuanced. For some reason Russo can locate endless resistance and subversiveness in the Sissies and Bulldykes in old Hollywood musicals and comedies, but something like Suddenly Last Summer or The Boys in the Band are pegged as an irredeemable exercise in negative stereotyping—I just don't buy that line of thinking and so I didn't even bother revisiting the last chapter or two. I also have mixed feelings because Celluloid Closet is widely hailed as the first study of its kind, while the late, great and now-forgotten Parker Tyler's Screening the Sexes: Homosexuality in the Movies is hardly ever ever remembered, though it was written nearly a decade earlier. Not that it's hard to see why this is the case: where Russo is Serious and Scholarly, Tyler is, characteristically, campy, tongue-in-cheek and can at times be baffling in regards to its allusions and in-jokes—in many ways Richard Dyer's Now You See It and Richard Barrios's Screened Out: Playing Gay in Hollywood from Edison to Stonewall are nice medians, as rigorous as Russo but retaining Tyler's sense of fun. But it can't be denied that The Celluloid Closet serves as a good primer on queer film—it certainly was mine, and I'll always appreciate it for that.

All of the Dykes to Watch out For books came into my store. Or, like, the first ten or so. So fine, FINE, I'm gonna get over myself and admit that I have such a bad book crush on Alison Bechdel and ALSO that maybe I can have a sense of humor about what a fuckin lezzie I am. So. So this first one is weird because some folks in it have the names and physical characteristics of the characters who would eventually make up the ongoing plot, but they are not those characters. It's like an episode of the Twilight Zone, man, but you are on acid! Except less intense.

Masculinity without men. In Female Masculinity Jack Halberstam takes aim at the protected status of male masculinity and shows that female masculinity has offered a distinct alternative to it for well over two hundred years. Providing the first full-length study on this subject, Halberstam catalogs the diversity of gender expressions among masculine women from nineteenth-century pre-lesbian practices to contemporary drag king performances.Through detailed textual readings as well as empirical research, Halberstam uncovers a hidden history of female masculinities while arguing for a more nuanced understanding of gender categories that would incorporate rather than pathologize them. He rereads Anne Lister's diaries and Radclyffe Hall's The Well of Loneliness as foundational assertions of female masculine identity. He considers the enigma of the stone butch and the politics surrounding butch/femme roles within lesbian communities. He also explores issues of transsexuality among "transgender dykes"---lesbians who pass as men---and female-to-male transsexuals who may find the label of "lesbian" a temporary refuge. Halberstam also tackles such topics as women and boxing, butches in Hollywood and independent cinema, and the phenomenon of male impersonators.Female Masculinity signals a new understanding of masculine behaviors and identities, and a new direction in interdisciplinary queer scholarship. Illustrated with nearly forty photographs, including portraits, film stills, and drag king performance shots, this book provides an extensive record of the wide range of female masculinities. And as Halberstam clearly demonstrates, female masculinity is not some bad imitation of virility, but a lively and dramatic staging of hybrid and minority genders.

This is probably the best book about gender and sexuality I've ever read. It discusses the many different facets of human sexuality that aren't necessarily mapped out by what you have between your legs or on your chest. In a world of cookie cutter voidoids who identify themselves purely by their sexuality (gym bunny fags and Michigan *barf* Womyn's Music Festival Nazis) not to mention the vast, dismal sea of heterosexism found in every-other-straight relationship out there, it's nice to read about people not afraid to realise that everything is a construct and they can be whatever the hell they feel like being...and sexuality...it's great...but it's not your definition of self. This book has temporarily saved my life, acting as a reminder (in a predominantly hetero/conventional relationship/sexuality town) that those outside the norm of stereotypical gay or nauseatingly straight actually do exist! 

Sue Trinder is an orphan, left as an infant in the care of Mrs. Sucksby, a "baby farmer," who raised her with unusual tenderness, as if Sue were her own. Mrs. Sucksby’s household, with its fussy babies calmed with doses of gin, also hosts a transient family of petty thieves—fingersmiths—for whom this house in the heart of a mean London slum is home.One day, the most beloved thief of all arrives—Gentleman, an elegant con man, who carries with him an enticing proposition for Sue: If she wins a position as the maid to Maud Lilly, a naïve gentlewoman, and aids Gentleman in her seduction, then they will all share in Maud’s vast inheritance. Once the inheritance is secured, Maud will be disposed of—passed off as mad, and made to live out the rest of her days in a lunatic asylum.With dreams of paying back the kindness of her adopted family, Sue agrees to the plan. Once in, however, Sue begins to pity her helpless mark and care for Maud Lilly in unexpected ways...But no one and nothing is as it seems in this Dickensian novel of thrills and reversals.

This is the first comprehensive book in English on the fate of the homosexuals in Nazi Germany. The author, a German refugee, examines the climate and conditions that gave rise to a vicious campaign against Germany's gays, as directed by Himmler and his SS--persecution that resulted in tens of thousands of arrests and thousands of deaths.In this Nazi crusade, homosexual prisoners were confined to death camps where, forced to wear pink triangles, they constituted the lowest rung in the camp hierarchy. The horror of camp life is described through diaries, previously untranslated documents, and interviews with and letters from survivors, revealing how the anti-homosexual campaign was conducted, the crackpot homophobic fantasies that fueled it, the men who made it possible, and those who were its victims, this chilling book sheds light on a corner of twentieth-century history that has been hidden in the shadows much too long.

It has been decades since women of color first turned feminism upside down, exposing the ‘70s feminist movement as exclusive, white, and unaware of the concerns and issues of women of color from around the globe. Now a new generation of brilliant, outspoken women of color is speaking to the concerns of a new feminism, and their place in it. Daisy Hernandez of Ms. magazine and poet Bushra Rehman have collected a diverse, lively group of emerging writers who speak to their experience—to the strength and rigidity of community and religion, to borders and divisions, both internal and external—and address issues that take feminism into the twenty-first century. One writer describes herself as a “mixed brown girl, Sri-Lankan and New England mill-town white trash,” and clearly delineates the organizing differences between whites and women of color: “We do not kick ass the way the white girls do, in meetings of NOW or riot grrl. For us, it’s all about family.” A Korean-American woman struggles to create her own identity in a traditional community: “Yam-ja-neh means nice, sweet, compliant. I’ve heard it used many times by my parents’ friends who don’t know shit about me.” An Arab-American feminist deconstructs the “quaint vision” of Middle-Eastern women with which most Americans feel comfortable. This impressive array of first-person accounts adds a much-needed fresh dimension to the ongoing dialogue between race and gender, and gives voice to the women who are creating and shaping the feminism of the future.

A comprehensive and incisive excoriation of same-sex marriage as a movement for "gay liberation." Warner's investigations of the interactions between gay shame and a push for same-sex marriage (see also Mattilda Bernstein Sycamore and Benjamin Shepard) is a useful lens to explore the millions of dollars and volunteer hours going almost exclusively to same-sex marriage advocacy -- at the expense of issues that arguably have a larger impact on the day-to-day lives of most queer and trans folks, from health care to housing to gentrification. This latter trend, which pits rich white gays and lesbians -- toward whom the advocacy organizations like the Human Rights Campaign are oriented -- against their less-wealthy queer and trans sisters and brothers, assumes all the more currency when reading "gay assimilationist" author-activists like Michael Signorile, Dan Savage and Larry Kramer who, regardless of their counter-cultural "shock" approaches are nonetheless reinforcing ideas of middle-class normalcy as the long-awaited future for queers. Warner differs, and offers a radical notion of sexual autonomy and sexual ethics in their stead. Though Warner seems somewhat unaware of the liberation theories advanced before him by radical feminists like Judith Butler and John Stoltenberg, trans theorists like Riki Wilchins and race theorists/historians like Robin D.G. Kelley, his critique of and within the queer community is well-deserved.

I found this book wholly fascinating and compelling, yet sad. It tells the story of love between women and how perceptions and prejudices have shaped it across the centuries. As it was first published in 1981, the subtitle is no longer accurate. The lesbian-feminist movement of the 1970s is the last trend described and it is salutary to compare this to the situation today. The book begins with the notion of ‘romantic friendship’, which reached its height of popularity in the 18th century. Faderman’s examination of romantic friendship demonstrates powerfully how changeable cultural norms are, in an area (love and sex) often blithely treated as immutable. Certainly, you have the trend today of framing so-called masculine and feminine behaviours as biologically fixed, as challenged in the excellent Delusions of Gender: How Our Minds, Society, and Neurosexism Create Difference. A major theme that I felt ran through the book was how sexuality is currently seen as a matter of desire and attraction, rather than behaviour, whereas this has not always been the case. Romantic friendships were a loving behaviour between women which did not tie them to a particular identity, sexual or otherwise. In the 18th century, though, it was widely assumed that none of these romantic friendships could have a sexual aspect, as a) women were assumed to have little or no libido, and b) the men whose writings on the topic have survived did not know how two women could have sex! There is thus a bittersweet tone to the initial chapters on romantic friendship. Undoubtedly their bonds brought a lot of women much joy, companionship, and deep love, however this was within a deeply oppressive patriarchal society. When it became possible for women to be financially independent from men, romantic friendships became suspect.Thus, the chapters on the 19th century are saddening, as they recount how romantic friendship became pathologised, exoticised, and condemned. Women who had been happily emotionally involved with one another were now treated as sick, in need of psychotherapy, and a threat to family life/the children/society in general. The sexologists, especially Freud, were at the vanguard of this. In short, the patriarchy attempted to ruin the emotional bonds that women had developed in part as a way to survive misogyny. Faderman examines the fictional depictions of women loving women (by then labelled ‘lesbianism’) that promulgated these negative ideas. I was amused by her palpable scorn at the decadent movement’s voyeuristic lesbian stereotyping. For example, ‘The emphasis in most of Verlaine’s other lesbian poems, as in Baudelaire’s, is on sex and sin - but of course the women are always young and lovely and arousing as they shuffle off to hell’. In Faderman’s opinion, only the feminist movement of the 1970s has been able to rehabilitate love between women. I didn’t previously understand what feminists of that decade meant by lesbian, as it seems to differ significantly from the assumed definition today. Lesbian-feminists of the 1970s apparently made a decision to focus their important emotional relationships (which could be sexual but might not be) on other women. Their lesbianism is thus defined by choice and behaviour, whereas today it is assumed that a lesbian is a woman who is sexually attracted to other women whether she likes it or not. In a way, this shifting definition powerfully demonstrates that in the 21st century, there is an assumption of compulsory sexuality. Thus, behaviour is presumed to follow attraction. Lesbians are women who are attracted to women and therefore have sex with them. Whereas Faderman is at pains to point out that romantic friendships seems often to have been sensual, maybe even sexual, but that was by no means the most important thing about them. Love today is so defined by sex. All serious non-familial relationships and emotional attachments are assumed to have a sexual component. I seem to recall that Freud even claimed that all platonic friendships have sexual attraction buried at their core. Freud has a lot to answer for, really. Even as his theories have been academically discredited, their influence on Western popular culture continues.‘Surpassing the Love of Men’ reminded me that as women in Europe and the US have gained more sexual freedom, this has brought new constraints and novel forms of sexism. The idea of sexuality as being innate, something you’re born with, counters homophobia by denying the possibility of medical rehabilitation. On the other hand, it also tends to exclude the freedom to choose your sexual and emotional behaviours and aims to neatly categorise everyone. I can imagine the hostile confusion that would result today if you came out as a lesbian, on the basis of not wanting emotional relationships with men whether or not you are attracted to them. Women’s bodies are still generally presumed to be sexually available to men. Moreover, any attraction is generally assumed to be sexual, despite the asexual community’s efforts at subdivision (sexual/romantic/sensual elements, etc). And as sexual attraction is treated as the most important and irresistible component of love, non-sexual relationships are deemed unimportant. This is why I felt a sense of loss when reading about romantic friendships. I love my close female friends very much, however none of them are my 'girlfriend', so these relationships are trivialised. In the media, there are very few depictions of female friendships that are recognisable to me. Female characters in films and on TV are so often rivals for a man's interest, rather than having emotional attachments to one another. Since the 18th century women's lives have improved immeasurably, but not without some losses. We still live in a misogynistic world, though I'm well aware that as a white, middle class woman I'm insulated from the worst of it.

John Boswell's highly acclaimed study of the history of attitudes toward homosexuality in the Christian West challenges received opinion and our own preconceptions about the Church's past relationship to its gay members, among whom were priests, bishops and even canonized saints. The historical breadth of Boswell's research (from the Greeks to Aquinas) and the variety of sources consulted (legal, literary, theological, artistic, and scientific) make this one of the most extensive treatments of any single aspect of Western social history. The product of ten years of research and analysis of records in a dozen languages, this book opens up a new area of historical inquiry and helps elucidate the origins and operations of intolerance as a social force.

Lillian Faderman tells the compelling story of lesbian life in the 20th century, from the early 1900s to today's diverse lifestyles. Using journals, unpublished manuscripts, songs, news accounts, novels, medical literature, and numerous interviews, she relates an often surprising narrative of lesbian life. "A key work...the point of reference from which all subsequent studies of 20th-century lesbian life in the United States will begin."—San Francisco Examiner.

The award-winning, field-defining history of gay life in New York City in the early to mid-20th century\
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Gay New York brilliantly shatters the myth that before the 1960s gay life existed only in the closet, where gay men were isolated, invisible, and self-hating. Drawing on a rich trove of diaries, legal records, and other unpublished documents, George Chauncey constructs a fascinating portrait of a vibrant, cohesive gay world that is not supposed to have existed. Called "monumental" (Washington Post), "unassailable" (Boston Globe), "brilliant" (The Nation), and "a first-rate book of history" (The New York Times), Gay New Yorkforever changed how we think about the history of gay life in New York City, and beyond.

Marshall is a cocky young ad man working at a dead-end job for a boss who overlooks his talents. After seven years with his boyfriend, Gabe, Marshall's love life has become too comfortable. On top of that, he's turning 30! He is desperate for a new life. He goes looking for it online, where he comes upon a mysterious app called "eCupid" that guarantees to find true love. From the moment he downloads it, "eCupid" scans every inch of Marshall's online world and instantly turns his life upside down. Marshall suddenly gets everything he thinks he wanted. Newly single and ready for adventure, "eCupid" overwhelms Marshall with sexy guys at every turn, each promising to be the man of his fantasies. But too much of a good thing may not be a good thing. Marshall soon finds that all the attention is more than he bargained for. With the help of a wise and mysterious waitress (Morgan Fairchild), Marshall is given one last chance to listen to his heart and figure out what (and who) is really important.

Forced to give up his dreams of art school, Zach spends his days working a dead-end job and helping his needy sister care for her son. In his free time he surfs, draws and hangs out with his best friend, Gabe, who lives on the wealthy side of town. When Gabe's older brother, Shaun, returns home, he is drawn to Zach's selflessness and talent. Zach falls in love with Shaun while struggling to reconcile his own desires with the needs of his family.

When 19-year-old gay-rights activist Tommy and 24-year-old Alan first meet in 1973, they find themselves on the opposite sides of the political coin. Despite their many differences, they form a loving long-term relationship. In 1977, during Anita Bryant's crusade, an anti-gay book Alan wrote years before gets published without his consent. The book destroys Tommy's credibility as a well-known activist, resulting in Tommy and Alan's break-up. Seven years later, Alan is given a second chance, a reunion with Tommy and the opportunity to set things right.

Griff wants to maintain just a superficial relationship with his all-gay boyfriend, who gets seriously wounded in a gay bashing.

At the age of 14 years, the world around you changes at a dizzying speed. But what if actually it's you that is changing? What if these changes take you away from what up until now, has been your world? Ibrahim and Rafa are going to suffer these changes for themselves, experiencing first love in a way they never could have imagined. And having to keep it Hidden away.

Zack and his new boyfriend Benji are setting off to vacation at an all-male resort in Palm Springs with their friend Lilly. In light of the veritable smorgasbord of available men that are sure to be awaiting their arrival, Benji has proposed that he and Zack open up their relationship, just for the weekend. He's not ready to limit himself sexually and explains that this will be a good way for them to explore together. Zack is less than thrilled with the idea, but he's eager to keep Benji happy and, after all, he likes sex too. At the same time, Zack's ex, Casey, is making his way to the same resort with his hag-in-training, Penny. Knowing that Zack will be there with his new boyfriend, Casey immediately goes into panic mode, recruiting his new friend, Peter, to be his pretend boyfriend for the weekend, proving to Zack that he's had no trouble moving on from their relationship. It isn't long before all plans go awry, and Benji starts making eyes at Peter, while Zack realizes he might not be as over Casey as he'd thought. With the gay boys otherwise engaged, Lilly and Penny are soon locked in combat for the attention of Luis, the resort's sexy bartender, who also happens to be the sole straight man in sight. It's complete sexual chaos as the various couples battle it out to win the object (or objects) of their affections.

Based on the novel by Andy Zeffer, "Going Down in LA-LA Land" is a riveting and uncensored look at Hollywood. It is a story that reveals how friendships sustain us and keep us going. It is a tale that reflects our celebrity-obsessed culture. It is a revealing look at some people's desire to be loved, adored, and adulated at any cost. Readers have grown to adore the flawed and imperfect, yet earnest and likable characters of Adam and Candy. Now movie audiences will have the same opportunity to follow their rocky ride through Hollywood, and all the laughs that go along with it.

"All Over The Guy" is a contemporary romantic comedy about the quest to find the "one" when "the one" doesn't know he's the "one." It explores the unlikely pairing of two 20-somethings thrown together by their respective best friends in hopes of igniting their own romance. They do everything they can to NOT fall in love, but finally they overcome the dysfunction of their parents and surrender to their hearts.

Brendan Behan, a sixteen year-old republican, is going on a bombing mission from Ireland to Liverpool during the second world war. His mission is thwarted when he is apprehended, charged and imprisoned in Borstal, a reform institution for young offenders in East Anglia, England. At Borstal, Brendan is forced to live face-to-face with those he perceived as "the enemy," a confrontation that reveals a deep inner conflict in the young Brendan and forces a self-examination that is both traumatic and revealing. Events take an unexpected turn and Brendan is thrown into a complete spin. In the emotional vortex, he finally faces up to the truth.

Olaf "Gunn" Gunnunderson, an out-and-proud gay college student, crawls back into the closet to survive the holidays with his family. He keeps his cool as his quirky Midwestern-hearted parents try to set him up with his high school sweetheart, Abby. But when his boyfriend, Nathan, shows up at their doorstep unannounced, Gunn must put on a charade to keep the relationship a secret. With pressure mounting from all sides, will Gunn come out before the truth does?

There's no shortage of drama or camp in the fourth installment of Q. Allan Brocka's hilarious Eating Out series. Zack and Casey's relationship is in a slump, but things are about to change at Dick Dickey's Drama Camp. Zack meets gorgeous Benji, and when they get cast as lovers in a sexed-up version of The Taming of the Shrew, their self-restraint is put to the test. Will Zack and Casey's relationship last with Benji in the picture?

Gabriel, an aspiring writer of Broadway musicals, meets Mark, a muscled stripper, who picks him up on the subway. They spend the night trying to find somewhere to be alone... forced to contend with Gabriel's selfish roommate, his irritating best friend, and a vicious, jealous drag queen in a gay dance club. The sun rises on a promising new relationship.

Gay friends Andy, Griff, Jarod and Nico, following the summer of their high school graduation when they all lost their respective virginity, decide to reconnect for further sexual debauchery by spending spring break together in Fort Lauderdale. They are delighted to find that the resort where they are staying is holding a week-long spring break contest called "Gays Gone Wild", Fuckstamps which are awarded for each sexual encounter or for organized resort party games, with the gay with the most Fuckstamps being crowned Miss Gay Gone Wild and the prize of a sex boy toy. Something that happens to a gay celebrity on their flight affects his participation in the contest. Hung geek Griff and shy jock Jarod, who are a monogamous couple in love, have to decide if they want to open up their relationship for the contest and for their stay in Fort Lauderdale, and if so if they will place any limits to that openness. Boy next door Andy, the power bottom, may reassess his goal of having as much sex as he can get when he meets virgin Luis, who is more into love and romance, and when he sees someone he knows at the resort who is having his own coming out of sorts. And flamboyant, camp Nico slowly comes to feel like an outsider among the masculine men at the resort. He meeting Stan, with who there is no possibility of ever getting together, may give him a different perspective of his situation. Any of Andy, Griff, Jarod or Nico winning the contest is challenged by Jasper - last year's winner - and his entourage of Jasper Chan and Jasper Pledge, who will do anything to ensure that Andy, Griff, Jarod or Nico, who they see as Jasper's main competition, don't win.

A gay teen finds out who he is and what he wants, who his friends are, and who loves him, in this autobiographical tale set in middle America in the 1980s. Growing up, learning about life, love, sex, friends, and lovers.

When Caleb's gay roommate Kyle reveals that quite a lot of straight woman bed with gay men (ostensibly to convert them), nice guy Caleb considers going gay to improve his unsatisfactory heterosexual sex life. He shortly thereafter falls for Gwen, whom he meets at a party, but she's got her own sexual frustrations going. She's only attracted to gay men while instantly dismissive of any straight guy approaching her, such as Caleb. Kyle quickly moves on the Caleb-is-gay campaign to benefit them, but his motives aren't entirely altruistic. He longs for Marc, a desirable hottie who's Gwen's gay roommate. Unfortunately for Kyle, Marc only has eyes for Caleb. Kyle's plan: Get Caleb to date Marc so it'll bring Caleb closer to Gwen while putting himself (Kyle) in proximity with Marc (their true targets). But as Gwen starts putting the moves on her roommate's new boyfriend, and as Kyle becomes increasingly jealous of Caleb's time spent with Marc, and as Marc persists in laying the foundations for a long-term relationship with Caleb, it becomes a question of how long the deception can continue before something gives?

The film follows the story of Duncan, a fourteen-year-old misfit farm boy trying to fill the void and alleviate the numbness left by his mother's passing. Unable to let her go quite yet, Duncan mimics his dead mother. He talks in her voice at the dinner table and wears her fur coat to bed. Edgar, Duncan's distant sixty-year-old father, doesn't understand the strange manifestations of his son's mourning. Why can't Duncan grieve like a normal person? Macho mate Perry Foley, who has it physically even harder on his dad's farm, usually comforts Duncan and defends his 'wimpiness' to their cocky ruffian mates Travis, Scotty and Brent. But although clearly attracted to gentle Duncan himself, the socially unacceptable suggestion of 'sissy' homosexuality makes Perry over-react and turn on his friend.

Tiffani and her friend Casey try to lure the gorgeous Zack with a phony online profile using the image of Tiffani's buff ex, Ryan... which works fine until the real Ryan shows up. Only through some fancy footwork, advice from his Aunt Helen and mentor Harry, and a daring sexual escapade can Casey figure out how to set things right and perhaps even find the love he's been seeking.

The film revolves around four gay teenagers: curious Andy, flamboyant Nico, jock Jarod, and geeky Griff. These four boys want to have sex, but can't find anyone to do it with. It's their graduation day and their lesbian friend Muffler's having her graduation party. The next morning, the boys make the pact to have sex before the end of the summer. Andy has his eye on the math teacher Mr. Puckov, Nico searches the Internet for a man, Jarod falls for a rival baseball player, and Griff is deciding within his crush on Jarod or his exercise teacher. In the tradition of "American Pie", "Another Gay Movie" will bring you hysterics.

How far would you go to get the person of your dreams? In Eating Out, Kyle convinced his straight roommate to pretend to be gay to get the girl. Now, with the help of Gwen and Tiffani, Kyle pretends to be heterosexual to land Troy, the new guy -- and nude model -- in town, only to find himself joining the campus ex-gay support group and nabbing a girlfriend! Kyle's ex boyfriend, Marc, is horrified at the plan and decides to pursue the confused Troy with his own tactic -- being his out gay self. Who will win him first?

Television series circling around young people, friends, and families in Cologne and Düsseldorf, Germany. The series' trademark is that it tells about life in rich (such as Dukes and Duchesses) as well as "regular" families and people; another trademark is that there is also at least one case of forbidden love ("Verbotene Liebe"), such as homosexuality or adultery.

After breaking up with his girlfriend, Josh comes to the realization that he is homosexual. With the support of his now ex girlfriend Claire, and his best friend and house mate Tom, Josh must help his mother with her battle with depression and the rest of his family embrace his new found orientation. All of this becomes a little more complicated when he explores his sexuality with a young and handsome Geoffrey.

Two gay friends, Vince and Stuart, live on a cocktail of sex, drugs and clubbing. They are both 29, and Stuart is the type of guy who cops off every time he goes out. One night, he spots 15-year-old Nathan, and brings him back to his apartment where they make love. Now, Nathan is still after Stuart, but Stuart just thinks of Nathan as one in a long line of one night stands.

Explore the daily lives of Noah, Alex, Ricky, and Chance, four African-American gay men in Los Angeles, through their relationships with their friends and lovers.

Based on the British series of the same name, Showtime's 'Queer as Folk' presents the American version. Following the lives of five gay men in Pittsburgh, 'Queer as Folk' is a riveting drama full of sex, drugs, adventure, friendship and love. Although the creators of 'Queer as Folk' wanted to present an honest depiction of gay life, it is by no means a comprehensive depiction. In addition to the usual sexual escapades and relationships of the five friends, the show explores critical gay political and health issues.

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