'A lonely 40-something screenwriter living in an almost-empty London apartment block, Adam (Andrew Scott) is alienated, exhausted and struggling to write about his past, but can’t get beyond the opening line.
One evening, Harry (Paul Mescal), a younger man from downstairs, appears at his door. He’s tipsy, vulnerable, flirty and charming. “There’s vampires at my door,” he says. Adam doesn’t let him in and later reveals that fear had stopped him.
This rings true, especially for a 40-something gay man like Adam: someone who grew up in the 1980s, during a period of rampant and violent homophobia and the AIDS crisis. England and Wales had partially decriminalised homosexuality in 1967, but Thatcher’s Britain was an ugly place for LGBTQ+ people.
The screenplay Adam is writing is set in 1987, the year that Section 28 was introduced, banning the “promotion” of homosexuality. At that time, the tabloids demonised AIDS victims as deviant plague-carriers and there were terrifying government health warnings on national television.
Homosexuality remained illegal in Ireland and the 1980s witnessed notorious hate-crimes, including the murder of Charles Self by a stranger when they hooked up. These crimes don’t belong to the past: in 2022, two gay men in Sligo were murdered by a man they met through a dating app. Small wonder that a fortysomething gay man like Adam would shut Harry out.
But it wouldn’t be much of a story if it ended there.
As an academic of LGBTQ+ history, I hugely enjoyed this delicate, melancholy and life-affirming film. It speaks to many of the real and heartbreaking experiences gay men in the UK and Ireland have had to navigate. It also highlights the progress and more hopeful world that has been carved for younger generations of queer men. But most of all, its a testament to the power of love.
Open to love
There is a spark between them; Adam reaches out to Harry and we see a relationship develop from an initial hook-up to long-lasting companionship and love. This connection allows Adam to revisit two painful relationships he had left in the past.
Spurred on by a photograph of his parents (Jamie Bell and Claire Foy), he returns to the suburbs where he was born, and meets them again. They were killed in a car crash when he was about 12, but here they seem to be alive, welcoming and not a day older.
When Adam tells his mother that he’s gay, she isn’t hostile, but she is worried. She says that she’s seen the ads about that awful disease and “they say it’s a lonely life”. Adam’s reply – “they don’t say that now” – is contradicted by his own experience before meeting Harry. He has been shut down by homophobia.
He tells his father about the relentless name-calling and physical bullying he endured at school. But he had never revealed it when he was a child and his father had never consoled Adam when he heard him crying in his room.
This again speaks to the experiences of many gay men and isn’t confined to the past. A man easing his son’s pain is still perceived by some as a weakness and we still live in a society where LGBT+ children are tormented by bullies. The 2022 national survey conducted by BelongTo, an Irish LGBT+ rights group advocating for young people, found that 76% of LGBT+ secondary school students felt unsafe at school.
Embracing the word ‘queer’
In the film, twentysomething Harry refers to continuing homophobia when he asks Adam if he is queer; it seems a more polite word than gay, he says, recalling children using the word as a slur. Harry’s remark points to an extraordinary transformation in language.
In the 1980s, “gay” was the most positive word used to describe LGBTQ+ people, and “queer” was used by homophobes as a vicious insult. “Queer-bashing” was the term used by the five youths who killed Declan Flynn in Dublin in 1982: a notorious Irish hate-crime. The judge at their trial did not regard them as murderers and gave them suspended sentences for manslaughter.
I mention Ireland again because, in the film, Adam was sent to live in Dublin with his maternal grandmother after his parents’ deaths. He tells his mother that he got on better there because he had learned how to fit in, an act of self-censorship still familiar to many LGBT+ people in Ireland, as referenced in drag queen Panti Bliss’s “Noble Call” speech. But today’s Ireland is also a place where “queer” is no longer a hateful word: it’s used by many LGBT+ people to celebrate their identities.
BelongTo’s 2022 survey points to the positive impact of adults’ support for LGBT+ young people and shows that there are pathways out of oppression and suffering.
In the film, the adult Adam comforts his father, who cries when he grasps how much young Adam had suffered. In a beautiful scene we see the two of them hugging. Through the reflection in the mirror Adam is transformed into his younger self, and without any words the film conveys a sense of acceptance and forgiveness between the two.
The film’s final scene makes us rethink its storyline of Adam’s and Harry’s relationship. It again affirms “the power of love”, the title of the Frankie Goes to Hollywood song (and LGBT+ anthem) that plays over the ending and credits. “I’ll protect you from the hooded claw, keep the vampire from your door,” promises Adam, repeating the words of the song and echoing Harry’s first words to him.
Whatever “really” happens in All of Us Strangers, it leaves us with a sense of hope and love transcending loss and death.'
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If you are queer, trans, or nonbinary and need someone to talk to about the horrible news this week, here are a ton of crisis lines you can call. I got this list from @/ queeeerchameleon on instagram. Below the cut are numbers for the US, UK, Canada, Australia, Belgium, Ireland, India, New Zealand, France, Germany, and Japan.
US:
Trevor project
(866) 488-7386
thetrevorproject.org
LGBT National Youth Talkline
(800) 246-7743
lgbthotline.org
Trans lifeline
(877) 565-8860
translifeline.org
Canada:
Trans Lifeline
877-330-6366
http://www.translifeline.org/
UK:
Switchboard
0800 0119 100
Switchboard.lgbt
LGBT Foundation
0345 3 30 30 30
lgbt.foundation
Galop
020-7704-2040
http://www.galop.org.uk/
Mermaids
(0208)-123-4819
http://www.mermaidsuk.org.uk/
Australia:
Q Life
1800 184 527
qlife.org.au
Belgium:
Holebifoon
0800-99-533
cavaria.be/holebifoon
National Crisis Line
02-649-95-55
yourlifecounts.org/need-help/crisis-lines
Ireland:
Gay Switchboard
01-872-1055
gayswitchboard.ie/
Out West
West Ireland: 094-937-2479
National: 1890-929-539
outwest.ie/
LGBT Helpline
1800-929-539
BeLonGTo (Youth)
01-670-622
belongto.org
India:
Sneha India
91-44-2464-0050
snehaindia.org
NZ:
OutlineNZ
0800-688-5463
Outline.org.nz/
France:
SOS Homophobia
01-48-06-42-41
sos-homophobie.org/
Germany:
Lesbenberatung
030-215-20-00
Lesbenberatung-berlin.de/
TRIQ
030-6167-529-15
Transinterqueer.org/
Japan:
Occur
03-3380-2269
Occur.or.jp/
Stonewall Japan
Stonewall.ajet.net/about/
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RTGame is doing a charity stream raising money for BelongTo, an Irish LGBTQ+ organization, today!
The stream starts at 3pm Irish Standard Time, and you can donate here: https://tiltify.com/@rtgamecrowd/rtgame-does-pride-2023
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“ USI is delighted to launch this dictionary today, alongside the Transgender Equality Network of Ireland (TENI) and BelongTo. We began this project as we believed that it was right that everyone would be able to recognise themselves in any language, and that they would be able to describe themselves in any
language. The Irish language showed us that she was up to this challenge, and it gives us great pleasure to say that we succeeded in putting The Queer Dictionary together. As language changes, and as people change, however, the Dictionary will change in the future. It is a working document.”
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Original date: February 12, 2021
Original caption:
Honey, wake up, yesterday new ENA image dropped
Characters belongto Joel G
.
She's just so fun to draw
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As
I don’t feel asalone asif alone has degreesof depthor distance as marked by desire as though the moreyou longthe less alone and more lonely you are for missand yearntoo belongto the warring loneliness clan whereas alone arepacifists unwilling to fight
View On WordPress
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can i belongto you instead then yer Very handsome
Im gonna have to decline. I dont have anyone 'belong' to me, that puts them under the article 5 subsection V, " if someone asks to belong to you, decline politely, take no title of owning someone. " Though, thanks for the compliment. I did just trim my hair
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up losing sleep again from thinking about you . some other stuff too . in my ehad i belongto you but you dont even know i existrd until i decided to finally send something despiteall the months ivespent
Thanks, if you’re losing sleep you might wanna talk to someone. I don’t want you to get sick. Who knows, maybe i’ve seen your blog somewhere. I’m pretty active in the community :).
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@whorrcr ( jacob ) / continued from x
he's aware of the hangar's state ; aware of the fact that the enemy has taken over the skies. that's exactly why nathan thinks he should be put up there instead of on the ground. both to get what's rightfully theirs back and to try and avoid being assigned a judge. his own attention turned onto the map that the eldest seed pursues, nathan nods. nick rye's place. he can do that. there's no better pilot in the resistance than rye, so it's a logical step to take out his hangar first. it'd be a fitting sort of irony, wouldn't it? they took john's, something that doesn't belongto them, and now eden's gate will take theirs. they will show them who is in charge in hope county. they will pay for the sins they've committed. “ yes, sir, ” nathan answers, tone that of a loyal soldier once more. “ i won't let you down. that is a promise. ” and that is the difference, isn't it? his relationship with john allowed for more leniency, allowed nathan certain privileges. it doesn't work that way with jacob. with him, he is just another chosen, another one of his soldiers, required to prove himself. best to remember that, nathan supposes. there's a small pause, nathan still studying the map as he adds, “ do you want us to leave any survivors? ” eden's gate is always in need of new soldiers, after all.
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