Gay Monster Mega Bundle: Strange Science

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MGE is all about exploring sexually and sharing those adventures with the world. MGE loves to be naked, and considers creating some of the best gay only fans content to be liberating and joyful. MGE truly believes in the power of loving yourself – body and mind – exactly as you are. Depressed and directionless, I passed my days on YouTube, revisiting Real Housewives drama and clips of classic anime fights. While in a pit of my listless despair, I came across an odd YouTube video about a creature that had terrorized the small town of Point Pleasant, West Virginia, in the ’60s. It was in that moment that my obsession with the Mothman and with cryptozoology — the search for and study of creatures like Bigfoot and the Loch Ness Monster — was born. He woke up on the shoreline, fully clothed. Other than the fact that he was still a little damp, it was as though nothing at all had happened; his belly showed absolutely no evidence that a short time ago it had been impossibly full of large tentacle eggs. Dean could almost have passed it off as a very strange dream, but the date display on his watch showed he’d missed three days. This was Paul Verhoeven’s last film in the Netherlands before he shipped out to Hollywood and started making sci-fi classics. The plot concerns a bisexual novelist named Gerard (Jeroen Krabbé), who starts sleeping with a woman named Christine (Renée Soutendijk), which leads to a love triangle with Gerard, Christine, and her other lover, Herman (Thom Hoffman). Also, the Virgin Mary appears to Gerard in a dream and warns him away from Christine, since she might be a murderer.

Wes Craven’s provocative sexpolitation film is one of the earliest examples of a rape revenge fantasy, a common trope that has recently undergone a much-needed reinvention and reclamation by women filmmakers. Craven’s controversial directorial debut was a major box-office success, even if critics at the time could not get over the extreme depictions of sexual violence. In a wild performance, Jeramie Rain plays the unhinged and intense woman who helps lure the two young victims to their deaths. The queer themes become quite explicit, however, when the victims are forced to perform sexual acts with each other. —JD Schofield also gave a demonstration of what Billy-Tom's manhood would look like when erect. Although for this he tactfully used a can of hairspray for illustrative purposes. Most Read Arek is a social and gay rights activist from Poland, and so you can guess that his main language will be Polish. That said, he seems to post in English enough that you should be fine, and even if you don’t understand, once you see him mostly naked, on the bed, waiting for his top to arrive, you’ll know you’re in for a good time in any language. I was in a dark place, alone in my room and hunched over my laptop, when the Mothman flew into my life. I was living in my parents’ house in Oklahoma at the time. I had just lost my full-time job in New York City, so I was subletting my shoebox in Brooklyn until I found another gig. From 1934 until 1967, Hollywood movies were shaped by the Production Code, otherwise known as the Hays Code. Written in 1930, but not implemented until four years later, this set of rules was generally intended to keep movies from “corrupting” the people who watched them. Given that homosexuality was considered either a physical or psychological malady in the early 20th century, the code effectively legislated any limited queer presence out of existence. While homosexuality was not explicitly banned in the Hays’ text, it was mandated that “no picture shall be produced that will lower the moral standards of those who see it. Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin.” It was also codified that only “correct standards of life” should be presented,” and that “sex perversion or any inference to it is forbidden.”

It’s just a personal thing,” Dean half-lied. “I never said anything because I’m always teasing you about being a hippie and stuff for liking to camp, and I didn’t want to deal with your crap. There’s just something out here that I find... fulfilling.” He caught himself running a hand over his now very empty and still somewhat sensitive stomach. “Let’s go get something to eat--I’m starving.”

Sure, there are plenty of gay and queer people who bristle at the prospect of being compared to monsters. I understand where they’re coming from on that front. There’s a long and troubling history of queer people being demonized by mainstream society. More than that, queer people have long been portrayed exclusively as villains in the media, in addition to being villainized in real life. It wasn’t until recently that LGBT representation in film and television has grown more varied and positive. Not everyone is willing to embrace or subvert the evil queer trope. This story of two gal pals taking a holiday at one of their family’s homes is like the New French Extremity version of Single White Female. It’s highly violent. It’s psychosexual. But at the end of the day, it’s a new millennium take on a character being driven to madness by their same-gender sexual obsession. For more queer-girl horror from this same cinematic moment, see Pascal Laugier’s even more violent, Martyrs. At the heart of the trilogy is the relationship between Deena (Kiana Madeira) and Sam (Olivia Scott Welch), former girlfriends recently torn apart by Sam’s meddling mom and Sam’s move to tony Sunnyvale from the more downmarket Shadyside. Without spoiling what follows in the series, we’ll say this: Deena and Sam’s love story is key to the entire series, and emblematic of both the fresh spin Janiak puts on the stories and the classic sense of “otherness” often found in the genre’s greatest heroes. —KE

There are literally queer and Latinx monsters and no one is talking about it.

He gasped as he saw that the tentacle disappearing between his legs was as big around as his wrist, but he felt no pain. His eyes widened when he saw softball sized lumps moving along the same tentacle toward him. There was pressure again before the first of the lumps popped through his anus and continued through his bowels, followed shortly by another and another. He felt warm and full.

Your wife needs to save chores and projects for 3 to 5 a.m.—provided no power tools are involved—and reserve the early evening hours for romps and creative bondage scenes. Cast: Kiana Madeira, Olivia Scott Welch, Benjamin Flores Jr., Julia Rehwald, Fred Hechinger, Ashley Zukerman, Darren Britt-Gibson, Maya Hawke, Jordana Spiro, Jordyn DiNatale, Sadie Sink, Gillian Jacobs, Emily Rudd, Ryan Simpkins,As film scholar B. Ruby Rich writes in her book New Queer Cinema: The Director’s Cut, “Consider the state of ‘gay and lesbian’ theatrical movies in the United States before 1969. Arguably there was no such thing, just a scattering of gay and lesbian directors, often closeted, making films that were masquerading as mass-market heterosexual fare, albeit with the occasional gay or lesbian actor or subtle wink.” But with the final dissolution of the Hays Code in 1968, the ’70s saw the cinematic gays come sprinting out of the closet — even if they didn’t run into the most flattering light. The 1960s were a time of cultural upheaval. Feminist and civil-rights activism were both on the rise. Antiwar protests would break out in response to the conflict in Vietnam. The Hays Code was about to be scrapped in favor of the rating system. The sexual revolution was on the horizon, and the gay-rights movement exploded into mainstream view following the Stonewall Riots at the end of the decade. Similarly, on the queer horror front, lesbian vampires were about to turn from shame-filled figures like the Countess Marya Zaleska into sexually forward predators, and a real, actual lesbian character — not a ghost or a suggestion of one — would appear as a protagonist in The Haunting.