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Articles by Aegor Ray
Oh Yeah, You Blend
It’s an incontrovertible fact that My Cousin Vinny (1992) is the greatest movie ever made. I say this with the authority of someone who’s played God and imposed upon one of this country’s daughters a set of alchemical processes resulting in irreversible damage and, ultimately, her demise. Rest in t, sweet girl-child. You’ve grown up to have hair on your tits and an affinity for the f-slur. Who knew.
S L I C K News | Autostraddle
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Let the Record Show: Lessons for Artists in Movements – Mn Artists
Sarah Schulman’s Let the Record Show: A Political History of ACT UP New York, 1987-1993 is a seed bomb of history, strategy, and inspiration for activists, artists, queer people, and students of social movements. Twenty years in the making, this political history of AIDS Coalition to Unleash Power, or ACT UP New York, contains the intersecting stories of 140 activists involved in AIDS activism.
S L I C K: Syd Sysco Volume LXIX: At the Feet of the Goo Empress of 61 Cygni
Content notes: non-human entities, t4t, feet, giant We join our hero now after his voluntary surrender to the Bromeliac guards of the Temple of the Goo Empress of 61 Cygni. Syd peeled off his spacesuit in front of the guards, and turned to face the red stone wall at the back of the cave. He braced his hands and belly against the wall while arching his back and spreading his legs open. Water gushed in spurts all over his back, his ass, his thighs and calf muscles.
How New Anthology "We Too: Essays on Sex Work and Survival" Honors Sex Workers' Truths
I read Sylvia Rivera’s essay “Queens in Exile: the Forgotten Ones” for the first time in February and I think about it most days since. Reading it is like holding fire in your hands. Rivera’s words blaze off the page as she writes about the violence in her life since childhood, her experiences in street sex work, starting Street Transvestite Action Revolutionaries with Marsha P. Johnson, and her life as a revolutionary.
Meghe Dhaka Tara: Trickling From A Rupture - Bright Wall/Dark Room
My coming to films has nothing to do with making money. Rather, it is out of a need to express the pains and agonies of my suffering people. Ritwik Ghatak, “My Coming Into Films” Recovering this remembered landscape where the river and land form a continuous space of habitation is integral to rethinking the question of ownership along the swampy banks of Calcutta. Narratives, songs, paintings and storytelling are sites of claim-making that remain outside the proprietary gestures of mapping.
Queer Nihilist Opera for The Last Days of Capitalism
In the climactic final encounter of Death to Smoochy, Rainbow Randolph (Robin Williams) wrestles a sniper rifle away from an assassin in the scaffolding above an ice show. Below, his former rival, a pink rhinoceros named Smoochy (Edward Norton), skates through an operatic rendition of his troubled career in show business. As the cops separate Randolph from the killer, they ask if he’s ok.
Peak Male Performance
“On Young Frankenstein we asked ourselves, Would the monster enjoy a nice Irving Berlin tune? Yes, he would, and so would the audience.” -Mel Brooks, “Puttin’ On ‘Puttin’ On The Ritz’: Remembering Gene Wilder” Five minutes into Young Frankenstein, and I’m graced with an angled close-up profile of Gene Wilder as Dr. Frederick Frankenstein.
Resurrecting the Alien Franchise as a Farce
Alien: Resurrection has the nerve to resurrect a woman who fell headlong into a vat of molten lead. In doing so, the film makes death ridiculous, something that can be cloned away. Just as it spits in the face of nature’s laws, so too does it flout the rules of every Alien movie that precedes it, rejecting cold abjection for disgusting dream logic. Its lens forces the viewer to see its subjects in a new, unflattering light. It does not shy away from sight gags and slapstick.
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