Gay Monster Mega Bundle: Strange Science

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The activist group Queer Nation protested the 1992 Oscars in part because of the nominations for Silence of the Lambs. Lambs won all five major Academy Awards that year, and is hailed as one of the great films of all time, but is also on the hook for the terrible transmisogyny and transphobia inherent in the movie’s primary antagonist, Buffalo Bill (Ted Levine). Excellent filmmaking by Jonathan Demme, to be sure, but also the immortalization of one of the most frightening queer monsters in film history. When you want the best gay only fans accounts, look no further. We’ve featured our favorites for 2023, which include The Scuba Gay, BlondNBlue, SH_Seoul, Charlie Gay, and My-Gay-Erotica. These five amazing creators are only the tip of the iceberg, so we didn’t stop there. 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. A prolific and successful horror fiction writer who began directing to adapt his work himself, out gay filmmaker Clive Barker is responsible for two of the films on this list, “Nightbreed” and “Hellraiser.” Barker’s directorial debut spawned a wildly successful horror franchise that includes 11 “Hellraiser” movies.

It was in this world that I met other cryptids, or cryptozoological creatures, and I became a fan of their work as well. Among my favorites is the Flatwoods Monster, another West Virginian cryptid who presented a look that left the three schoolchildren and one teacher who saw her gagged for life. Standing at 10 feet tall with long claws and a metallic body, the oddest thing about this cryptid might be her long skirt and spade-shaped collar. The film is widely considered one of the most controversial of all time. When “The Devils” was released in 1971, it faced harsh criticism and censorship due to its Holy Trinity of intense violence, sexuality, and religious themes. While it isn’t explicitly queer, it certainly is explicit. Film critic Judith Crist called it a “grand fiesta for sadists and perverts.” What could be more queer than that? —JD The skin was beginning to look strained, shiny and red in places. The slime tentacle returned, showering the ever-growing orb with the strange roofie/elastic gloop, which was promptly rubbed into the now ever more stretchy flesh.

Nighthawks (1978)

If you want to chat, he speaks both Italian and English, though you may want a translator to read some of his posts. Or just watch them without, because in the end, it’s all an orgasmic exploration of the male body. You can opt for a long-term subscription discount, so you don’t miss a single naughty post of this masculine work of art. #9. Mike Masters – Best in BDSM Hellbent isn’t a great movie, but writer and director Paul Etheredge-Ouzts is an important figure in the queer horror canon for making a slasher about a bunch of gay men in the crosshairs of a serial killer, who has no discernable anti-gay motive for his crimes. Joey, Chaz, Tobey, Eddie, and Jake are just a group of guys celebrating Halloween in West Hollywood when a madman goes off and starts taking people out. Watch this with Make a Wish as a double feature and reminisce about the gay slasher wave of the aughts. What were you doing here?” Sam demanded. “Did you think I wouldn’t notice you disappear the same time every year?” 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 This modern vampire tale is set New York City, and it focuses on the family of Dracula after he’s killed by his famous nemesis, Dr. Van Helsing. Dracula’s daughter is Nadja (Elina Löwensohn), who handles the cremation of her father and, afterwards, ends up going home and having sex with a stranger she meets in a bar — who happens to be Lucy (Galaxy Craze), one of Van Helsing’s in-laws. Lucy ends up in Nadja’s thrall, assisting the vampire in helping hunt her family so she can avenge Dracula. There’s also plasma from the blood of shark embryos used as a nourishing elixir for these contemporary vampires, so, not exactly a normal day in Transylvania!

Jane Schoenbrun’s directorial debut is steeped in the language of Youtube and chat rooms — various real cult online personalities make appearances in the grainy World’s Fair videos — and the wistful music of lo-fi music icon Alex G, but the film’s exploration of the internet digs at something deeper than aesthetic authenticity. Tinged with queer and trans subtext about freeing yourself from physical restrictions, “We’re All Going to the World’s Fair” captures the terror of releasing a part of yourself into the online void, and how you never quite know the people who choose to respond. —WC 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.Slasher movies hinge on two elements: body count and the killer’s big unmasking. In this seminal teen-screams film — about a pair of cousins who go off to summer camp together and find themselves in the middle of a slaughterhouse — the climax hinges on a gendered twist that’s one for the books. Given that it was the 1980s, it’s also par for the course that the psycho killer’s impulses stem from a strangely rooted case of gender dysphoria, playing into the stereotype of the monstrous queer. Ducournau tears down the walls of a genre often identified with male filmmakers. Shrewdly using the art-horror format to upend the traditional teen Bildungsroman, “Raw” makes it impossible to look away — as much as you might want to. —JD 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. If you want some culture with your gay only fans stars, then look no further than Sh_Seoul, a Korean up-and-comer with a superb gym-toned body. This silky-bodied stud is going to tempt you with his seductive gaze, and then show you a great time once you’re in his domain. He’s just begging you to embrace the carnal, and there’s no reason to say no! The classic “Frankenstein” sequel has a lot of queer subtext, primarily in the relationship between Dr. Frankenstein and his mentor, Dr. Pretorius, who run off together on Frankenstein’s wedding night. A titan of classic horror, gay filmmaker James Whale wove queerness into most of his films, which include the original “Frankenstein” and “The Invisible Man.” All his films see Whale casting gay actors and playing up queer themes in various ways. With its throughline of female autonomy, exemplified in the blood-curdling rejection by Elsa Lanchester’s titular character, “Bride of Frankenstein” is perhaps the most overtly queer of Whale’s films — while still passing subtly for the standards of the time. —JD

Depending on your age, you may know every frame of the steamy sex scenes between Catherine Deneuve and Susan Sarandon in “The Hunger”; the film played lesbian bars so frequently that it famously inspired Rose Troche to make “Go Fish”— so lesbians would have something else to watch for a change. 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 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.Meet Billy-Tom O'Conner, who admitted he has been involved in making porn in the past and was naturally well-endowed but wanted more. Two women working at a boarding school in France conspire to kill their beastly headmaster, who happens to be the husband of one of those ladies. Christina is mild and frail, but Nicole is curt and self-assured, alternately soothing and strong-arming her companion to get on with killing her terrible husband. If Les Diaboliques were made today, it would probably more like Bound — but because this was the 1950s, audiences had to pretend these women weren’t closeted lesbians. He was cautiously making his way around the shoreline between marsh and trees when he saw movement a short way out in the water. What looked like a pale hand flailed a bit and then disappeared beneath the surface. Dean was entirely aware that he should have known better--there were all kinds of creatures that lured people with false distress--but he couldn’t stop himself from trying to get a closer look.

You’re dying,” he whispered his realization aloud. He felt more sorrow as well as resignation from the tentacle beast in response. “Hell, if this makes you feel better about it, go ahead and use me.” One of the hand-like tentacles cupped his face and he felt a burst of gratitude. Feels amazing,” Dean admitted, “and it’s not hurting anyone.” As if on cue, Tina’s death grip on Sam relaxed slightly. He even came the year he was with Lisa. He was especially looking forward to it that time, actually. Oh, that?" The man rolled his eyes. "I know a guy took out a tentacle monster down in Florida. Near as he could tell, that's probably semen. Figure it's gotta have some kinda use other than pumping folks into human balloons." 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.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. It's just not natural," Mothra said. "I get the whole monster immigration argument but--son of a bitch, how many times do I have to zap these assholes--I'm skeptical about the whole island supporting it." Like its genre cousin, science fiction, horror films have long used supernatural terrors as stand-ins for real-life fears. When Jordan Peele used the genre to show white supremacy as the ultimate terror in “Get Out,” he was inspired by years of socio-political readings of his favorite horror films. Even though openly LGBTQ characters in horror were rare until recently, when it comes to queer subtext, the genre is ripe for exploring themes such as possession, body transformation, fear of the other, uncontrollable desire, and hidden identities.